The specter of violence casts a formidable shadow over the narrative of The Kentucky Cycle. Each play within this saga is a tapestry woven with threads of physical and emotional brutality, or the looming dread of such brutality. Schenkkan delves deep into how violence has carved its indelible mark on the annals of American history. Michael Rowen’s legacy was built on a foundation of murder, theft, and violation, a sinister heritage perpetuated through Patrick's brutality, Jed’s ruthless slaughter of the Talbert men, and ultimately, the Blue Star Mining Company's ravaging of both the land and the souls of its workers.

Violence in these tales is portrayed as an almost inevitable facet of American existence, though Schenkkan hints at its potential for a constructive edge. When harnessed to defend the land, as seen when Joshua's threat to shoot James and Franklin, or wielded in the fight for greater good, exemplified by the unionizing miners, violence can serve a purpose. Nevertheless, more often than not, it merely spawns further cycles of violence and vengeance, perpetuating an unending spiral of retribution.

The American Dream, an alluring vision of transformation where one can rise from obscurity to fame, pulses through the veins of American literature. In the initial chapters of Schenkkan’s cycle, every character is driven by this tantalizing promise, yet only bitter disappointment awaits them. Michael Rowen meets his end at the hands of his own son, his ambition to "own" every mountain left unfulfilled. Meanwhile, both Patrick and Jed watch helplessly as their dreams are snatched away through cunning legal maneuvers.

Despite these crushing defeats, the dream persists, just as it does in the face of harsh realities in the world beyond fiction. As the narrative unfolds into its second act, resignation grips all but two, Mary Anne and Scotty. With resilience, Mary Anne carves out a brighter future for her child, whereas Scotty's idealism crumbles under the weight of his father’s disillusionment.

During one of his post-Pulitzer Prize speaking tours, Schenkkan poignantly revealed that his cycle of plays uncovers an American history yet to be penned — a cultural "dirty little secret." In this vein, The Kentucky Cycle acts as a reflective surface for America's tumultuous and blood-soaked journey through time. We shy away from the grim reality of how settlers ruthlessly displaced native peoples, employing both violence and disease. The uncomfortable subjects of slavery, the oppression of women, and the deceitful schemes that stripped fellow Americans of their land and livelihood are conveniently swept aside.

Yet, the romanticized tales of the wild frontier capture the imagination — tales of rugged mountain men who relied on their cunning and firearms. We relish the narratives of individuals who rose from poverty to prominence, such as John Paul Getty and Andrew Carnegie, while conveniently ignoring the plight of the underpaid, undernourished, and overburdened workers who fueled their success. Schenkkan's mission is clear: he challenges his audiences to confront and acknowledge the immense suffering, heartache, and bloodshed that forged the nation we know today.

In the intricate tapestry of The Kentucky Cycle , characters grapple with the struggle of personal integrity. Indeed, with the notable exceptions of Mary Anne and Scotty, most are ensnared by the seductive allure of greed, casting morality aside. Michael turns a blind eye to the haunting tally of lives he has claimed, as long as the assurance of his land and family remains intact. Morning Star harbors little affection for her child, seeing him only as a pawn to be broken and left to grovel. Patrick, Zeke, and Jed are driven by an insatiable thirst for vengeance,...

In Robert Schenkkan’s The Kentucky Cycle, a Darwinian world is vividly portrayed, where the relentless mechanics of natural selection dictate the brutal reality of survival. Here, the strongest prevail amidst a landscape marked by brutality and brevity of life. The narrative unveils a harsh chronicle where predatory settlers, in their quest for dominance, first eradicate the Native American presence. Once this conquest is complete, they turn on each other, engaging in enduring blood feuds that further reflect the savage struggle for supremacy.

As the cycle of survival continues, these victors encounter forces even more potent than themselves. The arrival of cunning opportunists, armed with deceptive broad-form deeds, and the encroaching coal companies signify a new chapter in the relentless clash of power and survival. Yet, these external forces are not the end. The settlers, adapting as before, join these newcomers in the ongoing battles between labor unions and management. However, this coalition is ultimately futile; both the unions and management are swept away by overpowering economic forces that lie beyond their influence, illustrating the inexorable nature of survival in this Darwinian landscape.

Robert Schenkkan’s work, The Kentucky Cycle, is not a mere portrayal of southeastern Kentucky or the broader region of Appalachia; instead, it serves as a lens through which the broader narrative of the United States is examined. Schenkkan's play scrutinizes the evolution of the American myth of the frontier, particularly focusing on the illusions of boundless resources and the promise of escape that have shaped the nation's history and identity.

The playwright does not adopt a purely deterministic view of human existence but rather delves into the transformation of societal constructs and their implications. His exploration is not concerned with the state of being in a traditional sense. Instead, Schenkkan seeks to unravel what America has evolved into and the underlying reasons for this evolution.

The choice of southeastern Kentucky as a focal point was influenced by Schenkkan's visit to the region in 1981, which left a lasting impression on him. This visit, combined with insights from Harry Caudill’s impactful book, Night Comes to the Cumberlands: A Biography of a Depressed Area, provided Schenkkan with a poignant example of how the romanticized ideology of the frontier has manifested in reality. Through these influences, Schenkkan illustrates how the once-celebrated myths of endless opportunity have, in many ways, led to profound disillusionment and socioeconomic struggles.

American history is marked by acts of brutality, often justified by the myths of racial superiority and manifest destiny. Yet, such explanations fail to encompass the breadth of human greed and brutality depicted in Robert Schenkkan’s work. Schenkkan’s “Author’s Note” appears vague, lacking in depth, and somewhat disingenuous in addressing these themes. It skirts around the more profound critique of capitalism that his play, "The Kentucky Cycle," brings to the fore.

The narrative focuses on the relentless drive for land ownership, exploitation of people, and resource extraction, painting a picture of a cyclical and destructive capitalistic pattern. These themes highlight the darker facets of America's economic system, where the pursuit of profit often eclipses moral and ethical considerations. The cycle depicted in the play underscores how capitalism perpetuates a system that prioritizes wealth and power over human welfare and environmental sustainability.

The play serves as a mirror reflecting the historical and ongoing exploitation inherent in capitalistic ventures. It critiques not just the actions themselves but the underlying ideologies that allow such actions to be rationalized and repeated. Through its narrative, "The Kentucky Cycle" challenges audiences to reconsider the values and consequences of capitalism, urging a reflection on how deeply these patterns are ingrained in society's fabric.

The profound theme of land destruction weaves through the narrative, highlighting the complex relationship between people and the earth they inhabit. Initially, Cherokee warriors mock the concept of land ownership, viewing it as an alien notion contrary to their beliefs. Yet, the settlers who displace them are driven by an intense love for the land they seize, willing to fight fiercely for it.

This paradox of attachment and exploitation unfolds as Mary Anne Rowen articulates in Part 2, reflecting on how the land's inherent beauty nourishes the human soul. However, this natural splendor fades rapidly with the advent of coal mining, signaling a grim transformation. The looming threat of strip-mining promises to further scar the already ravaged landscape, leaving behind a desolate wasteland reminiscent of a lunar surface.