The Long Way a Voice Comes Home


“The meaning of the past is never finished.”
Hannah Arendt (1906–1975). From her Between Past and Future (1961), where she argues that history is not closed or complete, but morally alive, awaiting renewed attention, responsibility, and understanding.


Last week, I found my way to a small library tucked behind a hardware store in Deltaville, Virginia. It was the sort of place you might drive past without ever knowing it was there—a quiet, cream-colored building softened by climbing vines and brightened by a mural where hummingbirds hovered and monarchs drifted above a riot of painted flowers. A sailboat logo and a modest white sign announced Middlesex County Public Library — Deltaville Branch, a name that made the place feel both official and intimate at once. Nothing about it was grand, but everything about it felt intentional. Step through the doors, and you are immediately reminded why libraries endure: they do not shout their importance; they simply keep offering it.

I had been invited to speak about Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston, South Carolina, a project that has occupied a surprising amount of my life. But as I stood there, in a room filled with people who had given their afternoon to books, it became clear that what I was really there to talk about was not a colonial essayist at all. It was about the invisible network of librarians, teachers, archivists, and patient institutions that had made that work possible.

Nothing I have written would exist without them. Not the book. Not the essays. Not even the questions that led me to them.

For most of us, research looks solitary. A scholar in a reading room. A book on a desk. A voice speaking from a distant century. But none of that happens without a vast, quiet scaffolding behind it, made up of people who catalog, preserve, teach, fund, and protect the materials that others one day come to use.

Libraries quietly hold information—sometimes for centuries—without knowing who will need it, or when, or why. They preserve voices long after those voices have gone silent, trusting that someday someone will come along prepared to listen carefully.

That afternoon in Deltaville, surrounded by that small but devoted group of Library Friends, I realized I was standing inside the visible tip of something much larger. A chain of care that stretches across generations, linking a colonial newspaper, a Charleston library, a community college system, and a branch library in the heart of the Chesapeake Bay.

My own place in that chain began long before I knew it. When I was a graduate student in the early 1970s, I stumbled across a series of anonymous essays published in the 1750s in The South-Carolina Gazette. A leading scholar, Leo LeMay, had remarked that they were among the finest essays in all of early American literature and had urged that someone edit them, publish them, and identify their author. The challenge sat there for decades, unanswered.

What allowed me to return to it was not individual brilliance, but institutional grace. I spent twenty-five years at the Library of Congress, learning how archives think and how preservation outlasts any single lifetime. Later, the Virginia Community College System gave me something just as precious when I turned fifty: the chance to become an English professor, a dream I had carried since childhood. And then, when I was named Chancellor’s Professor, it gave me a two-year appointment that provided something more precious than funding. It provided time. Time to think. Time to return to unfinished questions. Time to do the kind of slow, careful work that real discovery requires.

That is why educators and educational institutions matter so deeply in this story. They do not just transmit knowledge; at their best, they grant permission. Permission to linger with a problem. Permission to follow a hunch. Permission to trust that careful thinking is worth the investment.

Being in Deltaville also gave me something I had not realized I was missing: the chance to thank Glenn DuBois in person. Glenn was Chancellor during two important turning points of my professional life. He was Chancellor when the Virginia Community College System first welcomed me into the classroom at age fifty, and he was Chancellor again years later when I was named Chancellor’s Professor, the appointment that made this work possible.

We rarely get to look someone in the eye and say, simply and honestly, “You changed my life.” But that afternoon, in a small library behind a hardware store, I did. It was one of those moments when gratitude stops being abstract and becomes something you can actually feel in the room.

The essays I eventually brought back into the light turned out to belong to Alexander Gordon, a Scottish-born scholar and singer who lived in colonial Charleston. But authorship matters because it allows us to place a voice in a life, a mind in a world, and a text in a tradition.

There is a Jewish folk belief that a person dies twice: once when the body stops, and again when their name is spoken for the last time. If that is so, then archives are a kind of moral infrastructure, designed to keep names from slipping into that second death. Every catalog entry, every preserved page, every carefully tended collection is an act of faith in the future.

So is education. When the Virginia Community College System opened its doors to me in midlife, it did not just give me a job. It gave me a second beginning. Without that second chance, the first version of my curiosity would have remained unfinished.

All of this came together for me in that small Deltaville library. A place without marble columns or grand staircases, but full of the same quiet dignity that animates every serious library anywhere. People had gathered not to be dazzled, but to listen. To care. To take part in the long human habit of keeping stories alive.

Today, Gordon’s voice is no longer anonymous. His essays are no longer orphans. A lost body of work has been restored to its author, and a chapter of early American literary history has been set right. That restoration belongs not just to a scholar or a book, but to the institutions that made it possible—to libraries that guard knowledge, to educators who foster discovery, and to communities that believe the past is worth preserving.

All proceeds from my book go to the Virginia Foundation for Community College Education, which feels exactly right. Libraries and community colleges share the same moral instinct: they exist to hold doors open, not to keep people out.

I left Deltaville with a deeper gratitude for the fact that nothing we do alone ever really is. Behind every footnote stands a librarian. Behind every discovery stands a teacher. Behind every second act stands an institution willing to say yes.

And behind every recovered voice stands a chain of quiet, faithful human hands, passing something forward because they believe someone, someday, will need it.

The Art of Eating Crow

“A man should never be ashamed to own he has been in the wrong, which is but saying, in other words, that he is wiser today than he was yesterday.”

–Alexander Pope (1688–1744; English poet and satirist, one of the most influential poets of the 18th century, whose wit and keen moral reflections in works like “The Rape of the Lock” and “An Essay on Man” secured his literary legacy.)

Eating crow is never easy. In fact, it’s downright tough, so much so that it takes a lot of willpower and gumption.

Oh, I’m not talking about eating crow as in the genus Corvus, those glossy black birds found in most parts of the world. I’ve never eaten one of them.

I’m talking about eating the kind of crow that we sometimes have to eat when we discover that we’re wrong. That’s a hard discovery to make. Let’s face it: it’s hard to fess up when we’re wrong. But let’s own up to it—sometimes the best thing to do is just eat crow and be done with it.

Take the stubborn husband who swore up and down he could fix the plumbing himself, despite his wife’s warnings. A few YouTube tutorials, a flooded bathroom, and an emergency call to the plumber later, he’s standing there, soaking wet, eating a big plate of crow.

Or the manager who brushed off an employee’s suggestion, only to watch the competition roll out the same idea—successfully. There’s no easy way to walk that one back, but let’s hope the manager at least had the sense to admit, “I should’ve listened.”

Then there’s the friend who mocked TikTok, Wordle, or Air Fryers, scoffing at the hype—until they tried it. And now? They’re sending out their Wordle scores every morning, scrolling TikTok before bed, and raving about how crispy their Brussels sprouts get. Yep. Crow. Served hot and fresh.

People have been “eating crow” since the dawn of human interaction so the list could go on and on, ranging from professional to personal and from funny to frustrating, but I don’t need to continue. Every item in the list captures the same universal realization: Oops … I was wrong. I didn’t understand.

Even though we’ve been eating crow for a long, long time, the phrase itself is surprisingly modern. It first appeared in 1885 in the Magazine of American History:

“‘To eat crow’ means to recant, or to humiliate oneself.”

By 1930, the phrase had taken on a more serious tone:

“I should merely be making an ass of myself if I accused someone and then had to eat crow” (E. Queen, French Powder Mystery).

By 1970, “eating crow” was used in a way that is close to what we all hope for when we use the phrase today:

“I was going to apologize, eat crow, offer to kiss and make up” (New Yorker)

Yep! Sometimes, eating crow comes with extra benefits.

These days, eating crow is firmly on the menu for anyone caught in the wrong. Actually, it was on my menu last week. Two servings of crow. That’s right. Two servings. Mind you, I haven’t been caught in the wrong because I haven’t done anything wrong other than having had some lingering thoughts down through the years about two Mary E. Wilkins Freeman scholars. I’ve now come to realize that I was wrong, or, more accurately, I’ve come to realize that I didn’t understand.

And since I’ve always believed that eating crow is most beneficial if done in public, let me lift the cloche and reveal my double portion.

My first portion is because of thoughts that I’ve had about Thomas Shuler Shaw, a librarian at the Library of Congress, who embarked on an ambitious project to write what would have been the first biography of Mary E. Wilkins Freeman. His goal was to illuminate the life and literary contributions of this remarkable author who had died in 1930.

However, fate had other plans. Shaw’s 1931 biography, A Nineteenth Century Puritan, faced rejection from prominent publishers such as Harper & Brothers, Ladies’ Home Journal, and The Saturday Evening Post. I’ve always credited Shaw for persevering, at least enough to find a home for his meticulously curated scrapbooks and the typescript of his unpublished biography in the Rare Book & Special Collections Division at the Library of Congress. Those artifacts provide a rich tapestry of insights into Freeman’s life and work, and they certainly helped me with my edition of The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman (Scarecrow, 1985).

Nonetheless, I wondered then as I do now: why didn’t Shaw continue his efforts to find a publisher? His book would have distinguished itself as the first Freeman biography. What impact might it have had on her literary reputation if the details of her life had been accessible to readers of the 1930s and 1940s?

My second portion of crow relates to another scholar working on a Freeman biography around the same time. Edward Foster wrote his Mary E. Wilkins Freeman: A Biographical and Critical Study in 1934 as his thesis when he was a candidate for the Doctor of Philosophy degree at Harvard University. The university accepted his thesis, but Foster didn’t complete his Harvard degree. He put aside his Freeman work until 1956 when he revised and published it as Mary E. Wilkins Freeman (Hendricks House).

Foster was direct when he explained the delay:

My thesis was accepted […] also for subsidized publication by Harvard Press. Lacking funds for subsidy and failing to get trade publication, I forgot the thing for nearly twenty years. MWF is only a small part of my career. (Foster to Brent L. Kendrick, ALS, October 24, 1973)

Nonetheless, I wondered then as I do now: why didn’t Foster try to find a publisher sooner than he did? What impact might it have had on her literary reputation if Foster’s details of her life had been accessible to readers of the 1930s and 1940s.

There. I’ve done it. I’ve eaten my two portions of crow. However, I have to do one more thing to help you understand the art of eating crow. To turn eating crow into an art requires divulging what prompted, in my case, not just one portion of crow but two in a single serving. That’s the source of the catharsis. That’s the confession, without which eating crow can never be an art.

Here’s mine.

Yesterday, I uploaded the manuscript of my forthcoming book Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston, South Carolina. My book definitively establishes Gordon (c. 1692–1754)—antiquarian, Egyptologist, scholar, singer, and later Clerk of His Majesty’s Council of South Carolina—as the author of The Humourist essays, restoring his rightful place in literary history.

I hesitate to say this, but the book is a significant scholarly work. It’s meticulously researched, not only unearthing a forgotten literary voice but also redefining our understanding of colonial American literature. While it’s structured with rigor, it remains highly engaging, making complex historical and literary analysis accessible without oversimplification. It’s not just a literary recovery; it’s a reframing of Charleston’s intellectual life, the role of satire in the colonies, and the transatlantic literary tradition. That’s no small feat.

To say that I am ecstatic is an understatement. I am.

But get this. I’ve been working on this book since 1973, when Professor Calhoun Winton of the University of South Carolina suggested that I try to solve this literary mystery. Published in the South-Carolina Gazette, the essays had been largely forgotten, and the identity of their author remained unknown.

At the time, I recognized their brilliance and used them as the foundation for a graduate paper. Then I put the project aside where it remained in my mental storehouse of “one-day, some-day” ideas, waiting for the right time.

Decades later, the Virginia Community College System (VCCS) gave me an extraordinary opportunity to return to that project, to bring these essays into the light, and to finally answer the question that had remained unanswered for centuries: Who wrote them?

As a VCCS Chancellor’s Professor (2012-2014), I answered that question and shared the essays and my ongoing findings with my blog readers right here. Actually, that’s when TheWiredResearcher had its beginning.

Ironically, I delayed publishing my watershed Unmasking The Humourist until now.

You may be wondering about my delays, just as I wondered about Foster’s delays and Shaw’s delays.

I’ve been wondering about my delays, too, and that’s why I’m eating crow.

I could toss out many reasons:

The Humourist essays seemed too short for a book and too long for a scholarly article.

● I wanted to make certain that my evidence for claiming Alexander Gordon as the author was as compelling as my discussion.

● I wanted to do further research so that my headnotes and endnotes for the essays were comprehensive.

All of those reasons are true.

I won’t toss into that mix other scholarly pursuits that came my way.

I won’t toss into that mix my early career advances as a federal employee or my second career advances as an educator.

I won’t toss into that mix caring for aging parents.

Actually, I won’t toss into that mix anything else because what became obvious to me when I uploaded Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston, South Carolina was something seriously simple. We all lead complex, complicated, and convoluted lives.

● I know that truth firsthand.

● You likely do as well.

● So, too, did Edward Foster.

● So, too, did Thomas Shuler Shaw.

Wondering about their delays caused no harm, but I now see there was no need to wonder at all. I might simply have acknowledged what I’ve come to recognize in my own self-talk about The Humourist:

Life is rich, robust, and mysterious, and it rarely marches forward on a straight path.

As I move forward on my path, I’ll keep that truth in mind as I interact with others—and with myself. And with that heightened awareness, perhaps I really will have mastered the art of eating crow.