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Diary: Wendell Berry, The Writer Going Home
I have pondered a great deal over a conversation I took part in a number of years ago in one of the offices of New York University. I had lived away from Kentucky for several years—in California, in Europe, in New York City. And now I had decided to go back and take a teaching job at the University of Kentucky, giving up the position I then held on the New York University faculty. That day I had been summoned by one of my superiors at the university, whose intention, I had already learned, was to persuade me to stay on in New York “for my own good.”
The decision to leave had cost me considerable difficulty and doubt and hard thought—for hadn’t I achieved what had become one of the almost traditional goals of American writers? I had reached the greatest city in the nation; I had a good job; I was meeting other writers and talking with them and learning from them; I had reason to hope that I might take a still larger part in the literary life of that place. On the other hand, I knew I had not escaped Kentucky, and had never really wanted to. I was still writing about it, and had recognized that I would probably need to write about it for the rest of my life. Kentucky was my fate—not an altogether pleasant fate, though it had much that was pleasing in it, but one that I could not leave behind simply by going to another place, and that I therefore felt more and more obligated to meet directly and to understand. Perhaps even more important, I still had a deep love for the place I had been born in, and liked the idea of going back to be part of it again. And that, too, I felt obligated to try to understand. Why should I love one place so much more than any other? What could be the meaning or use of such love?
The elder of the faculty began the conversation by alluding to Thomas Wolfe, who once taught at the same institution. “Young man,” he said, “don’t you know you can’t go home again?” And he went on to speak of the advantages, for a young writer, of living in New York among the writers and the editors and the publishers.
The conversation that followed was a persistence of politeness in the face of impossibility. I knew as well as Wolfe that there is a certain metaphorical sense in which you can’t go home again—that is, the past is lost to the extent that it cannot be lived in again. I knew perfectly well that I could not return home and be a child, or recover the secure pleasures of childhood. But I knew also that as the sentence was spoken to me it bore a self-dramatizing sentimentality that was absurd. Home—the place, the countryside—was still there, still pretty much as I left it, and there was no reason I could not go back to it if I wanted to.
As for the literary world, I had ventured some distance into that, and I liked it well enough. I knew that because I was a writer the literary world would always have an importance for me and would always attract my interest. But I never doubted that the world was more important to me than the literary world; and the world would always be most fully and clearly present to me in the place I was fated by birth to know better than any other.
And so I had already chosen according to the most intimate and necessary inclinations of my own life. But what keeps me thinking of that conversation is the feeling that it was a confrontation of two radically different minds, and that it was a confrontation with significant historical overtones.
I do not pretend to know all about the other man’s mind, but it was clear that he wished to speak to me as a representative of the literary world—the world he assumed that I aspired to above all others. His argument was based on the belief that once one had attained the metropolis, the literary capital, the worth of one’s origins was canceled out; there simply could be nothing worth going back to. What lay behind one had ceased to be a part of life, and had become “subject matter.” And there was the belief, long honored among American intellectuals and artists and writers, that a place such as I came from could be returned to only at the price of intellectual death; cut off from the cultural springs of the metropolis, the American countryside is Circe and Mammon. Finally, there was the assumption that the life of the metropolis is the experience, the modern experience, and that the life of the rural towns, the farms, the wilderness places is not only irrelevant to our time, but archaic as well because it is unknown or unconsidered by the people who really matter—that is, the urban intellectuals.
I was to realize during the next few years how false and destructive and silly those ideas are. But even then I was aware that life outside the literary world was not without honorable precedent: if there was Wolfe, there was also Faulker; if there was James, there was also Thoreau. But what I had in my mind that made the greatest difference was the knowledge of the few square miles in Kentucky that were mine by inheritance and by birth and by the intimacy the mind makes with the place it awakens in.
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What finally freed me from these doubts and suspicions was the insistence in what was happening to me that, far from being bored and diminished and obscured to myself by my life here, I had grown more alive and more conscious than I had ever been.
I had made a significant change in my relation to the place: before, it had been mine by coincidence or accident; now it was mine by choice. My return, which at first had been hesitant and tentative, grew wholehearted and sure. I had come back to stay. I hoped to live here the rest of my life. And once that was settled I began to see the place with a new clarity and understanding and a new seriousness. Before coming back I had been willing to allow the possibility—which one of my friends insisted on—that I already knew this place as well as I ever would. But now I began to see the real abundance and richness of it. It is, I saw, inexhaustible in its history, in the details of its life, in its possibilities. I walked over it, looking, listening, smelling, touching, alive to it as never before. I listened to the talk of my kinsmen and neighbors as I never had done, alert to their knowledge of the place, and to the qualities and energies of their speech. I began more seriously than ever to learn the names of things—the wild plants and animals, the natural processes, the local places—and to articulate my observations and memories. My language increased and strengthened, and sent my mind into the place like a live root system. And so what has become the usual order of things reversed itself with me; my mind became the root of my life rather than its sublimation. I came to see myself as growing out of the earth like the other native animals and plants. I saw my body and my daily motions as brief coherences and articulations of the energy of the place, which would fall back into it like leaves in the autumn.
Wendell Berry is an essayist, novelist, and poet. He lives in Henry County, Kentucky. This passage is drawn from his essay “A Native Hill,” first published in 1968 and reissued this week, under the title Think Little, in the new pocket-sized Counterpoints series from Counterpoint Press, alongside work by Gary Snyder and Guy Davenport.
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