Pappyland

  Wright Thompson is a wordsmith. When describing people or certain situations, he has a way of putting words together in a manner that is magical. You read one of his sentences and sit back and go, “Wow, how can anyone come up with that stuff?” It’s been a thrill for me and Sissy to hang out with him over the last three years. He makes you feel as comfortable as an old pair of shoes. I had no idea how this whole book thing about me was going to go, but he nailed it. We have been on a parallel journey together regarding our relationships with our fathers. He has woven those personal feelings in his life into mine to present this story that is my life.

  This is kind of like those award show moments when you could mention everyone who has helped you along the way but don’t have the time—or pages—to do it. But I must mention just a few more briefly. I’m sure, just as those actors or musicians do, I’ll miss a few. Sorry y’all.

  Artist Ken McKiernan helped me design the Pappy label and a few other Van Winkle labels.

  My dad’s original Stitzel-Weller artist, Bob Wathen, designed our decanters and labels, including our original Old Rip label.

  Thanks to my children for keeping me motivated when they were young, and helping me toe the line now that they are adults, and for giving us fabulous grandchildren.

  Last but certainly not least is Sissy. Wright mentions her many times in this book because she was and is an integral part of any success that I have had. I have been bouncing ideas off her from the beginning. If I wanted an opinion about how good or bad a new whiskey was that I was considering selling, I had her try it. She has the best palate in the family and I trust it. It was tough for her to be alone from time to time raising four small kids. In the beginning, and even still today, she can hold her own at a whiskey show, cheerfully pouring a tiny amount of our whiskey for hundreds of attendees and chatting it up with all of them, making them feel like they are one of our family. Just recently, Preston was unavailable to attend WhiskyFest San Francisco, so she filled in for the job of pouring. There were more pictures taken of me than ever because she was at my side. She’s got that knack. Everyone is her best friend after meeting her, and that is a huge comfort and crutch for me. I’m shy and I think she would say that she is, too, but if you meet her, you would never know it.

  I love you, Bud!

  Acknowledgments

  Wright Thompson

  A long and strange process took this book from how it was first imagined (and sold) to the object in your hands. Five people are primarily responsible for shepherding it, and me, during this journey. I want to thank them first: Julian and Sissy Van Winkle; my editor, Scott Moyers; my agent, David Black (who first came up with this idea); and, of course, my wife, Sonia Thompson, who put up with this project happening while I already had a full-time job.

  I want to thank my family for showing me how to move through the world: Uncles Rives, Rabbit, Will, Michael, and Frazier. All my cousins. My aunts Nan, Jennie, Becky, and Tempe. My brother, Willie. And, most of all, my dear sweet, smart, fierce, and kind mama. I love you, Mama.

  I want to mention my father, who is gone and yet somehow alive on every page. Buying this book keeps him vital, and I can not explain what a gift that is to me.

  Thanks to everyone at Penguin, especially Mia, Sam, and Matt.

  Thanks to Bill Simmons and Dan Fierman at the late and lamented Grantland, where I first wrote about Pappy.

  Writing for a living means that while readers consume each work individually, they are all linked to me, small steps toward a distant destination, and therefore I want to make sure and acknowledge those who help me day in and day out, from my first job at the newspaper in New Orleans to my current position at ESPN.

  Scott edited this book, and he made it immensely better, and he is in a long line of women and men who have looked after my words and, more important, looked after me: Colleen McMillar, Mike Fannin, Jay Lovinger, Paul Kix, and Eric Neel.

  Working at ESPN means being involved in many different forms of storytelling, and being in airports and hotels with a band of fellow road warriors doing all that aforementioned storytelling. So a lot of people have seen me tapping away at this project while we traveled the country doing stories, and I appreciate their patience and guidance as I wrote and talked through the ideas and complications in this book. There’s the Shelter Island crew: Tom Junod, Seth Wickersham, Kevin Van Valkenburg, and the ubiquitous Mr. Neel; our ongoing conversation about writing, literature, music, film, family, love, loss, joy, pain, and everything else good or bad we encounter in our day is centering and affirming for me. In a way, this book is just an extension of that conversation. There’s Paul Kix, who did an invaluable read and edit. There is Tim Horgan at Bluefoot, who has become family to me. There’s John T. Edge at TrueSouth, whose wisdom and friendship are reflected on nearly every page. The whole TrueSouth team: Dan, Hillary, Nicole, Angie, Shane, Steven, J. D., Thom, Vin, and Matt. Add Kaline and you’ve also got the Lil Wayne video team. I must thank the podcast ninjas: Courtney Harrell and Jess Hackel from Pineapple Street Media, which has become my Brooklyn home away from home. Their light and life have infused these pages, and I appreciate their friendship and hard work. And, of course, there are the folks back at the Mothership. I appreciate them all: Ali, Scott, James, Rachel, KJ, Jena, Rob, McQuade, Roz, Lee, Steph, Buckle, Connor, Dahl, Amanda, Drew, the whole Gameday crew, and many more.

  Thank you to Wallace’s godfathers: Clay Skipper and Rick Telander.

  One last word about Seth Wickersham. For two decades, he has been my best friend and fellow traveler through this weird career we’ve both chosen. I can’t begin to list the small and large ways he has influenced every word in this book, nor can I ever properly thank him for that help.

  Finally, to Wallace: I spent a lot of nights away from you while reporting this book, and I want you to know, whenever you are old enough to read this, that every single day I was gone, I was thinking of you. In the end, this book is for you most of all. And let me save you some soul searching: you don’t owe me anything. I love you completely and unconditionally.

  About the Author

  Wright Thompson is a senior writer for ESPN. He lives in Oxford, Mississippi, with his family.

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