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.

As a Matter of Stats

“Somewhere, an editor is waiting to fall in love with what I’ve written. That’s not ego. That’s faith.”

—Brent L. Kendrick (b. 1947). Blogger, literary scholar, creative nonfiction writer (who loves to fool around in bed), and once-upon-a-time professor who splits his reinvention time between restoring lost voices of American literature and discovering new ways to live, love, laugh, and write with meaning. He’s been sighted in the mountains of Virginia. (Authorial aside to all editors: Sit up and take notice—because if you snooze, you lose. This dude’s relatively cheap, cleans up well, once got compared to Garrison Keillor by someone in Tennessee, and yes—he’ll bake sourdough and seduce the annotations, headnotes, footnotes, and endnotes into (mis)behaving.)

Stats?

Oh. Sorry. I don’t mean my vitals. Though I do check them daily. Why not? My Fitbit provides it all, right on my wrist. Heart rate. Breathing rate. Temp. Heart rate variability. Blood oxygenation. Stress. So, yeah. I check those first thing every morning when I wake up.

I meant another set of stats that matter to me.

My WordPress stats.

I like to know how many people are checking out my blog on any given day.

I like to know what countries they’re from.

I especially like to know what posts they’re reading. That info lets me know what’s hot and what’s not. Every now and then, I lean in and almost let myself believe that what’s hot might just be me. I do. Really. I do. Especially when I see hits on my About Me or About My Blog or Contact Me pages. Like the time one lone reader from Lithuania clicked through twelve posts in an hour—and paused on “About Me.” I remember thinking:

“This is it. This is my moment.”

I guess I figure that if someone is going to all the trouble of background snooping, they’re probably on the verge of being the genius who goes down in history as the one who discovered me, thus ensuring that I go down neither unfootnoted nor unnoted.

Me? Discovered?

Don’t scoff! Stranger things have happened, you know. I mean, I wouldn’t be the first writer catapulted into history and literary fame by an editor with deep belief and keen vision.

One writer who has just been catapulted into history comes to mind immediately.

Alexander Gordon (c. 1692-1754).

Did I just hear you gasp:

“Who’s that?”

Surely, I did not, for if you don’t know who he is, then you must not be the faithful follower I know you to be.

If you’re following me–my blog, I should add for your clarity and my protection–then you know that I recently finished a book about Alexander Gordon, the long-forgotten colonial satirist who published his literary works pseudonymously in The South-Carolina Gazette in 1753-54 under the name The Humourist, and then—like so many voices history forgets—he vanished. No one knew who he was. One scholar asked. But he didn’t bother to find out. No one else did, either. Then I came along. I had a lot of curiosity. I had a tolerance for long hours in dusty archives. Eventually, I had a hunch, and I discovered a clue.

“What happened next?” you ask.

I found him. I pieced together the man behind the pen. I wrote him back into existence. Now, he lives once more for all the world—including you—to read and enjoy again. Unmasking The Humourist: Alexander Gordon’s Lost Essays of Colonial Charleston.

So don’t tell me that a writer getting discovered is a myth. I just did that very thing with Alexander Gordon. Guess what else? It occurs to me that he now stands as the first American writer to be thrust by an editor into fame.

Yes. That’s true and, I’ll make that claim. Right here. Right now.

Someone just upbraided me:

“Excuse me. You’re wrong. Anne Bradstreet was the first.”

Being upbraided is something up with which I will not put.

So ekscuuuuuuuuuuse meeeeee! You’re wrong.”

Here’s why.

I know. I know. You’re probably thinking about her one and only book The Tenth Muse Lately Sprung Up in America. In case you don’t know the story surrounding its 1650 publication, it goes like this. Her brother-in-law John Woodbridge spirited her manuscript off to England and published it behind her back, unbeknownst to her.

Bradstreet herself seems to back up that claim, especially in her “The Author to Her Book” offering up her well-known and oft-quoted lament:

Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to publick view,
Made thee in raggs, halting to th’ press to trudge,
Where errors were not lessened (all may judg).

How convenient for Bradstreet. Her posturing created a persona of Puritan modesty and aversion to recognition as compelling as the narrative of her “stolen” book of poetry—the very tale that helped catapult her into public view.

But here’s the thing. Actually, two things. First, Woodbridge was not her editor. Second, despite the storybook notion that Bradstreet considered her womanly role subordinate to the role of Puritan men, scholars maintain that it was “a propaganda campaign” launched by Bradstreet and her family. I’m thinking particularly of Charlotte Gordon’s “Humble Assertions: The True Story of Anne Bradstreet’s Publication of The Tenth Muse,” maintaining that Bradstreet was not surprised by the publication of her book and that, in fact, she was actively involved in its publication.

So there! Bradstreet does not beat Alexander Gordon when it comes to the first American writer thrust into fame by an editor.

But let me not digress from the claim that I am making. Think as long and as hard as you will about American writers between the publication of The Tenth Muse and the publication of the Humourist essays, and if you can come up with someone else who can seize the claim, reach out to me, and I’ll blog it. Better still, reach out to me, and we’ll co-blog it.

But I won’t hold my breath. The Humourist remained pseudonymous from his first November 26, 1753, essay through his final notice on April 9, 1754, known but to God. That is until I came along and solved the greatest literary mystery in perhaps all of American literature. I unmasked The Humourist and revealed him to be none other than Alexander Gordon, clerk of His Majesty’s Council in South Carolina.

Now, through my dogged determination, my literary sleuthing, and my scholarly editing, Gordon will be known forever more and throughout the world as the acclaimed author of the Humourist essays, among the liveliest and most original voices in Colonial American Literature, right up there and on par with Ben Franklin’s Silence Dogood essays.

Needless to say, there have been other American writers who were brought into public view by editors–all boasting just a smidgen of modesty, of course, comparable to mine–who knew talent when they saw it.

I’m thinking of my lady Mary E. Wilkins Freeman and my book The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman. Although I edited the letters, provided thorough annotations, and wrote biographical introductions to the book itself and each of its five sections, I’m not the editor who discovered her on her way to literary stardom.

Credit for that goes to someone else. Here’s the brief backstory. Freeman started her career as a children’s writer but then extended her literary efforts into the realm of adult short stories. Lippincott’s, Century, and the Atlantic rejected her “Two Old Lovers.” Then she sent it to Mary Louise Booth, editor of Harper’s Bazar, who read the story three different times during three different moods, as was her custom, and accepted it for publication in the March 31, 1883, issue. From that point forward, Freeman wrote regularly for the Harper’s Bazar and Harper’s Monthly, and, in fact, Harper & Brothers became her regular publisher.

In a way, then, it was Mary Louise Booth’s editorial acumen that escorted Freeman into the international literary acclaim she continues to enjoy even today, though in fairness to Freeman, her talent was such that it would have found its way into the spotlight in one way or another. Talent will always out.

I could go on and on with this litany of writers who were discovered by editors, sometimes against the odds. I’m tempted to say that I won’t, but on second thought, I think that I will share with you snippets of some paired writers and editors who come to mind.

I’ll start with Flannery O’Connor, so well known for her bold and unconventional Southern Gothic voice. It was Robert Giroux, an editor at Harcourt who believed in her debut novel, Wise Blood, and guided it into print—despite its eccentric style and religious overtones.

Or what about Jack Kerouac? His On the Road was originally a 120-foot scroll—raw, unfiltered, and “unpublishable.” But Viking Press editor Malcolm Cowley saw gold and helped shape it into the beat-generation classic it became.

Then we’ve got a postal worker with a cult following in underground poetry circles: Charles Bukowski. He caught the attention of John Martin at Black Sparrow Press. Martin offered him a year’s salary to quit his job and write full time. It was the start of a prolific and gritty career.

No doubt you know the minimalist voice of Raymond Carver. His works might have stayed buried had it not been for Gordon Lish at Esquire. Lish gave Carver his break, though not without some brutal edits.

Closer to me and my situation in many ways is Frank McCourt, who, as a retired teacher in his 60s, wrote Angela’s Ashes. Nan Graham at Scribner wept when she read it and championed it into publication. Oh. My. It won the Pulitzer. It sold millions. My kingdom for a Nan.

And if McCourt was close to me occupationally—educator turned writer; I, of course, am still living according to most recent news reports—then I have to mention Jeanette Walls, whose roots are close to mine since we’re both West Virginians. Her memoir The Glass Castle was going nowhere fast until editor Deb Futter read it and saw its power. Her support turned it into a bestseller and reshaped what memoir could be.

And last but perhaps most important to the hope that I carry (like a well-worn talisman) that an editor will discover me and, in a poof, turn me into star dust is Andy Weir. He self-published his The Martian chapter by chapter online. Julian Pavia at Crown Publishing read it, loved it, and bought it. The novel became a bestseller and hit film.

Oh. My. God. I’m doing exactly what Weir did. I’m publishing all of my Foolin’ Around in Bed essays right here, week by week. Once again, my kingdom for a Pavia unless a Nan has already catapulted my bed into fame.

I could share other snippets, but I confess. Right now, I’m in a pickle. But don’t worry. I have a way out. It will work for me, and, as you are about to see, it will work for you too.

I’m going to do what Margaret Atwood did in her story “Happy Endings.” I’m going to give you options.

A. What happens next? Don’t be so impatient. History is based on facts and evidence. Come back for the ending when the ending is written.

B. What happens next? Dear Reader, you know exactly what comes next. Yours truly–Brent(ford) L(ee) Kendrick–aka TheWiredResearcher—keeps right on doing what he’s been doing with his writing and his research. And he keeps right on hoping that an editor–a believer—is out there, poised and ready to do for him what he’s just done for Alexander Gordon.

Not just this blog. Not just my Foolin’ Around in Bed essays. But Gordon. Freeman. Years of words, research, story, and sweat. A whole body of work—waiting for the right editor/reader to say: “This one. This voice.”

“Which ending do you like?” someone queried.

I much prefer B. After all, keepin’ on keepin’ on is the road I’m traveling. Even if it is the one less traveled by, it makes all the difference. Especially when it leads past the stats and toward the stars. (Whew! What a relief. I figured out a way to bring Robert Frost into this post. It’s been too long–far too long.)

Besides, putting aside my own preference for an ending, I have no doubt in the world that right now, an editor is out there who believes in me, who might be scrolling through my “About Me,” pausing over a sentence, clicking “Contact Me,” and thinking:

This one. This voice.”

OMG. I just felt the earth shift.

I did. I really did.

Did you?

No? You didn’t?

Don’t worry. Be happy. Somewhere, right now, someone’s opening a drawer, clicking a link, or flipping a page—and everything’s about to begin.

It’s just a matter of time and a matter of stats.