Novelists From Kentucky

"Such fable ours! However sweet, That earlier hope had, if fulfilled, Been but child's pap and toothless meat — And meaning blunt and deed unwilled, And we but motes that dance in light And in such light gleam like the core Of light, but lightless, are in right Blind dust that fouls the unswept floor For, no: not faith by fable lives, But from the faith the fable springs — It never is the song that gives Tongue life, it is the tongue that sings; And sings the song. Then, let the act Speak, it is the unbetrayable Command, if music, let the fact Make music's motion; us, the fable."

"What glass unwinking gives our trust Its image back, what echo names The names we hurl at namelessness?"

"Accept these images for what they are — Out of the past a fragile element Of substance into accident. I would speak honestly and of a full heart; I would speak surely for the tale is short, And the soul's remorseless catalogue Assumes its quick and piteous sum."

"She never came back. The family Sort of drifted off. Nobody wears shiny boots like that now. But I know she is beautiful forever, and lives In a beautiful house, far away. She called my name once. I didn't even know she knew it."

"How could I exist in the same world with that brightness? Two years later she smiled at me. She Named my name. I thought I would wake up dead."

"In silence the heart raves. It utters words Meaningless, that never had A meaning. I was ten, skinny, red-headed, Freckled. In a big black Buick, Driven by a big grown boy, with a necktie, she sat In front of the drugstore, sipping something Through a straw. There is nothing like Beauty. It stops your heart.It Thickens your blood. It stops your breath. It Makes you feel dirty. You need a hot bath. I leaned against a telephone pole, and watched. I thought I would die if she saw me."

"Tell me a story. In this century, and moment, of mania, Tell me a story. Make it a story of great distances, and starlight. The name of the story will be Time, But you must not pronounce its name. Tell me a story of deep delight."

"In separateness only does love learn definition."

"The lack of a sense of history is the damnation of the modern world."

"I don’t expect you’ll hear me writing any poems to the greater glory of Ronald and Nancy Reagan."

"Everything seems an echo of something else."

"I cannot recall what I started to tell you, but at least I can say how night-long I have lain under the stars and Heard mountains moan in their sleep. By daylight, They remember nothing, and go about their lawful occasions Of not going anywhere except in slow disintegration. At night They remember, however, that there is something they cannot remember. So moan. Theirs is the perfected pain of conscience that Of forgetting the crime, and I hope you have not suffered it. I have."

"Here is the shadow of truth, for only the shadow is true."

"What is a poem but a hazardous attempt at self-understanding? It is the deepest part of autobiography."

"How do poems grow? They grow out of your life."

"Storytelling and copulation are the two chief forms of amusement in the South. They’re inexpensive and easy to procure."

"A young man’s ambition — to get along in the world and make a place for himself — half your life goes that way, till you’re 45 or 50. Then, if you’re lucky, you make terms with life, you get released."

"I longed to know the world's name."

"Historical sense and poetic sense should not, in the end, be contradictory, for if poetry is the little myth we make, history is the big myth we live, and in our living, constantly remake."

"I know that any discussion of the relation of this poem to its historical materials is, in one perspective, irrelevant to its value; and it could be totally accurate as history and still not worth a dime as a poem. I am trying to write a poem, not a history, and therefore have no compunction about tampering with non-essential facts. But poetry is more than fantasy and is committed to the obligation of trying to say something, however obliquely, about the human condition. Therefore, a poem dealing with history is no more at liberty to violate what the writer takes to be the spirit of his history than it is at liberty to violate what he takes to be the nature of the human heart. What he takes those things to be is, of course, his ultimate gamble."

"The urge to write poetry is like having an itch. When the itch becomes annoying enough, you scratch it."

"We are right to see power prestige and confidence as conditioned by the Civil War. But it is a very easy step to regard the War, therefore, as a jolly piece of luck only slightly disguised, part of our divinely instituted success story, and to think, in some shadowy corner of our mind, of the dead at Gettysburg as a small price to pay for the development of a really satisfactory and cheap compact car with decent pick-up and road-holding capability. It is to our credit that we survived the War and tempered our national fiber in the process, but human decency and the future security of our country demand that we look at the costs. What are some of the costs? Blood is the first cost. History is not melodrama, even if it usually reads like that. It was real blood, not tomato catsup or the pale ectoplasm of statistics, that wet the ground at Bloody Angle and darkened the waters of Bloody Pond. It modifies our complacency to look at the blurred and harrowing old photographs — the body of the dead sharpshooter in the Devil's Den at Gettysburg or the tangled mass in the Bloody Lane at Antietam."

"The poem... is a little myth of man's capacity of making life meaningful. And in the end, the poem is not a thing we see — it is, rather, a light by which we may see — and what we see is life."

"For fire flames but in the heart of a colder fire. All voice is but echo caught from a sound-less voice. Height is not deprivation of valley, nor defect of desire. But defines, for the fortunate, that joy in which all joys should rejoice."

"The poet is in the end probably more afraid of the dogmatist who wants to extract the message from the poem and throw the poem away than he is of the sentimentalist who says, "Oh, just let me enjoy the poem.""

"More and more Emerson recedes grandly into history, as the future he predicted becomes a past."

"If, in the middle of World War II, a general could be writing a poem, then maybe I was not so irrelevant after all. Maybe the general was doing more for victory by writing a poem than he would be by commanding an army. At least, he might be doing less harm. By applying the same logic to my own condition, I decided that I might be relevant in what I called a negative way. I have clung to this concept ever since — negative relevance. In moments of vain-glory I even entertain the possibility that if my concept were more widely accepted, the world might be a better place to live in. There are a lot of people who would make better citizens if they were content to be just negatively relevant."

"Long ago, in Kentucky, I, a boy, stood By a dirt road, in first dark, and heard The great geese hoot northward. I could not see them, there being no moon And the stars sparse. I heard them. I did not know what was happening in my heart."

"If anybody's going to be a writer, he's got to be able to say, "This has got to come first, to write has to come first." That is, if you have a job, you have to scant your job a little bit. You can't be an industrious apprentice if you're going to be a poet. You've got to pretend to be an industrious apprentice but really steal time from the boss. Or from your wife, or somebody, you see. The time's got to come from somewhere. And also this passivity, this "waitingness," has to be achieved some way. It can't be treated as a job. It's got to be treated as a non-job or an anti-job."

"So little time we live in Time, And we learn all so painfully, That we may spare this hour's term To practice for Eternity."

"But to poetry — You have to be willing to waste time. When you start a poem, stay with it and suffer through it and just think about nothing, not even the poem. Just be there. It's more of a prayerful state than writing the novels is. A lot of the novel is in doing good works, as it were, not praying. And the prayerful state is just being passive with it, mumbling, being around there, lying on the grass, going swimming, you see. Even getting drunk. Get drunk prayerfully, though."

"Most writers are trying to find what they think or feel. . . not simply working from the given, but toward the given, saying the unsayable and steadily asking, "What do I really feel about this?""

"There’s far too much generalization now about rural America. Conservatives and corporations have had their eye on rural America all along. And they’ve been turning it into money as fast as they can, which is to say destroying the land and the people..."

"The problem is that rural America has been a colony, certainly throughout my lifetime. I don’t think anybody’s paid attention to rural America since about 1945 or ’50. Certainly not since 1952, when Eisenhower’s Secretary of Agriculture said to the farmers: “Get big or get out.” They’ve just abandoned rural America to corporations and technologies."

"Let me say and not mourn: the world lives in the death of speech and sings there."

"Do not think me gentle because I speak in praise of gentleness, or elegant because I honor the grace that keeps this world. I am a man crude as any, gross of speech, intolerant, stubborn, angry, full of fits and furies. That I may have spoken well at times, is not natural. A wonder is what it is."

"The poem is important, but not more than the people whose survival it serves..."

"Love the quick profit, the annual raise, vacation with pay. Want more of everything ready-made. Be afraid to know your neighbors and to die. And you will have a window in your head. Not even your future will be a mystery any more. Your mind will be punched in a card and shut away in a little drawer. When they want you to buy something they will call you. When they want you to die for profit they will let you know. So, friends, every day do something that won't compute. Love the Lord. Love the world. Work for nothing. Take all that you have and be poor. Love someone who does not deserve it. Denounce the government and embrace the flag. Hope to live in that free republic for which it stands. Give your approval to all you cannot understand. Praise ignorance, for what man has not encountered he has not destroyed."

"Ask the questions that have no answers. Invest in the millenium."

"I come into the presence of still water. And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world, and am free."

"As soon as the generals and the politicos can predict the motions of your mind, lose it. Leave it as a sign to mark the false trail, the way you didn't go. Be like the fox who makes more tracks than necessary, some in the wrong direction. Practice resurrection."

"To be sane in a mad time is bad for the brain, worse for the heart."

"What I stand for is what I stand on."

"From the union of power and money, from the union of power and secrecy, from the union of government and science, from the union of government and art, from the union of science and money, from the union of ambition and ignorance, from the union of genius and war, from the union of outer space and inner vacuity, the Mad Farmer walks quietly away."

"There is an American poet called Wendell Berry whose poetry I really admire tremendously for its clarity, for the way in which he uses language that really has a music in it and yet that really has an ordinary, everyday quality to it which never ever gets prosaic. I believe in that kind of poetry."

"Wendell Berry has been a formative influence ever since I began gardening and writing about our entanglement with nature back in the 1980s. He showed me a path out of the usual dualism — culture or nature — that has dominated American writing about nature since the Puritans. Plus he showed me how to construct a sturdy sentence."

"Laugh. Laughter is immeasurable. Be joyful though you have considered all the facts."

"I am speaking of the life of a man who knows that the world is not given by his fathers, but borrowed from his children; who has undertaken to cherish it and do it no damage, not because he is duty-bound, but because he loves the world and loves his children; whose work serves the earth he lives on and from and with, and is therefore pleasurable and meaningful and unending; whose rewards are not deferred until "retirement," but arrive daily and seasonally out of the details of the life of their place; whose goal is the continuance of the life of the world, which for a while animates and contains them, and which they know they can never compass with their understanding or desire."

"It is impossible to care for each other more or differently than we care for the earth. This last statement becomes obvious enough when it is considered that the earth is what we all have in common, that it is what we are made of and what we live from, and that we therefore cannot damage it without damaging those with whom we share it. But I believe it goes farther and deeper than that. There is an uncanny resemblance between our behavior toward each other and our behavior toward the earth. Between our relation to our own sexuality and our relation to the reproductivity of the earth, for instance, the resemblance is plain and strong. By some connection we do not recognize, the willingness to exploit one becomes the willingness to exploit the other."

"Today, local economies are being destroyed by the "pluralistic," displaced, global economy, which has no respect for what works in a locality. The global economy is built on the principle that one place can be exploited, even destroyed, for the sake of another place."