John Berryman
John Allyn Berryman (originally John Allyn Smith) was an American poet, born in McAlester, Oklahoma. He was a major figure in American poetry in the second half of the 20th century and often considered one of the founders of the Confessional school of poetry. He was the author of The Dream Songs, which are playful, witty, and morbid. Berryman committed suicide in 1972.
A pamphlet entitled Poems was published in 1942 and his first proper book, The Dispossessed, appeared six years later. Of his youthful self he said, 'I didn't want to be like Yeats; I wanted to be Yeats.' His first major work, in which he began to develop his own unique style of writing, was Homage to Mistress Bradstreet, which appeared in Partisan Review in 1953 and was published as a book in 1956. Another pamphle.
His thought made pockets & the plane buckt, followed. It was the collection called Dream Songs that earned him the most admiration. The first volume, entitled 77 Dream Songs, was published in 1964 and won the Pulitzer Prize for poetry. The second volume, entitled His Toy, His Dream, His Rest, appeared in 1968.
The two volumes were combined as The Dream Songs in 1969. By that time Berryman, though not a "popular" poet, was well established as an important force in the literary world, and he was widely read among his contemporaries. In 1970 he published the drastically different Love & Fame. It received many negative reviews, along with a little praise, most notably from Saul Bellow and John Bailey. Despite its negative reception, its colloquial style and sexual forthrightness have influenced many younger poets, especially from Britain and Ireland. Delusions Etc., his bleak final collection, which he prepared for printing but did not live to see appear, continues in a similar vein. Another book of poems, Henry's Fate, culled from Berryman's manuscripts, appeared posthumously, as did a book of essays, The Freedom of the Poet, and some drafts of a novel, Recovery.
The poems that form Dream Songs involve a character who is by turns the narrator and the person addressed by a narrator. Because readers assumed that these voices were the poet speaking directly of himself, Berryman's poetry was considered part of the Confessional poetry movement. Berryman, however, scorned the idea that he was a Confessional poet.
“The marker slants, flowerless, day’s almost done, I stand above my father’s grave with rage, often, often before I’ve made this awful pilgrimage to one who cannot visit me, who tore his page out: I come back for more, I spit upon this dreadful banker’s grave who shot his heart out in a Florida dawn O ho alas alas When will indifference come, I moan & rave I’d like to scrabble till I got right down away down under the grass and ax the casket open ha to see just how he’s taking it, which he sought so hard we’ll tear apart the mouldering grave clothes ha then Henry will heft the ax once more, his final card, and fell it on the start.”
“Dream Song 187Them lady poets must not marry, pal.Miss Dickinson—fancy in Amherst bedding hér.Fancy a lark with Sappho,a tumble in the bushes with Miss Moore,a spoon with Emily, while Charlotte glare.Miss Bishop’s too noble-O.That was the lot. And two of them are hereas yet, and—and: Sylvia Plath is not.She—she her credentialshas handed in, leaving alone two totsand widower to what he makes of it—surviving guy, &when Tolstoy’s pathetic widow doing her whung(after them decades of marriage) & kids, she decided he was queer& loving his agent.Wherefore he rush off, leaving two journals, & die.It is a true error to marry with poetsor to be by them.”
“Huffy Henry hid the day, unappeasable Henry sulked. I see his point,--a trying to put things over. It was the thought that they thought they could do it made Henry wicked & away. But he should have come out and talked. All the world like a woolen lover once did seem on Henry's side. Then came a departure. Thereafter nothing fell out as it might or ought. I don't see how Henry, pried open for all the world to see, survived. What he has now to say is a long wonder the world can bear & be. Once in a sycamore I was glad all at the top, and I sang. Hard on the land wears the strong sea and empty grows every bed.”
“Soon part of me will explore the deep and dark Floor of the harbour . . I am everywhere, I suffer and move, my mind and my heart move With all that move me, under the water”
“What is the boy now, who has lost his ball,What, what is he to do? I saw it goMerrily bouncing, down the street, and thenMerrily over-there it is in the water!”
“Springwater grow so thick it gonna clot and the pleasing ladies cease. I figure, yup, you is bad powers.”
“These Songs are not meant to be understood, you understand.They are only meant to terrify & comfort.”
“There is no such thing as Freedom (though it is the most important condition of human life, after Humility, -which does not exist either). There is only Slavery (walls around one) and absence-of-Slavery (ability to walk in any direction, or to remain still).”
“Listen, for poets are feigned to lie, and I For you a liar am a thousand times . . . .”
“Is stuffed, de world, wif feeding girls.”
“That is our ‘pointed task. Love & die.”
“…Henry is tired of winter,& haircuts, & a squeamish comfy ruin-prone proud national mind, & Spring (in the city so called)Henry likes Fall.Hé would be prepared to líve in a world of Fállfor ever, impenitent Henry.But the snows and summers grieve and dream;These fierce & airy occupations, and love,raved away so many of Henry’s yearsit is a wonder that, with in each handone of his own mad books and all,ancient fires for eyes, his head full& his heart full, he's making ready to move on.”
“I do strongly feel that among the greatest pieces of luck for high achievement is ordeal. Certain great artists can make out without it, Titian and others, but mostly you need ordeal. My idea is this: the artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he's in business: Beethoven's deafness, Goya's deafness, Milton's blindness, that kind of thing.”
“We must travel in the direction of our fear.”
“No, I didn't. But I was aware that I was embarked on an epic. In the case of the Bradstreet poem, I didn't know. The situation with that poem was this. I invented the stanza in '48 and wrote the first stanza and the first three lines of the second stanza, and then I stuck. I had in mind a poem roughly the same length as another of mine, “The Statue”—about seven or eight stanzas of eight lines each. Then I stuck. I read and read and read and thought and collected notes and sketched for five years until, although I was still in the second stanza, I had a mountain of notes and draftings—no whole stanzas, but passages as long as five lines. The whole poem was written in about two months, after which I was a ruin for two years. When I finally got going, I had this incredible mass of stuff and a very good idea of the shape of the poem, with the exception of one crucial point, which was this. I'll tell you in a minute why and how I got going. The great exception was this: It did not occur to me to have a dialogue between them—to insert bodily Henry into the poem . . . Me, to insert me, in my own person, John Berryman, I, into the poem . . .”
“something has been said for sobriety but very little.”
“The artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he's in business.”
“We have reason to be afraid. This is a terrible place.”
“I cry. Evil dissolves, and love, like foam;that love. Prattle of children powers me home,my heart claps like the swan’sunder a frenzy of who love me and who shine.”
“ Two daiquiriswithdrew into a corner of a gorgeous roomand one told the other a lie.”
“I conclude now I have no inner resources, because I am heavy bored. Peoples bore me, literature bores me, especially great literature, ”
“The Prayer of the Middle-Aged ManAmid the doctors in the Temple at twelve, between mother & host at Cana implored too soon, in the middle of disciples, the midst of the mob, between High-Priest and Procurator, among the occupiers,between the malefactors, and 'stetit in medio, et dixit, pax vobis' and 'ascensit ad mediam Personarum et caelorum,' dear my Lord,mercy a sinner nailed dead-centre too, pray not to late,-for also Ezra stood between the seven & the six, restoring the new Law.”
“Them lady poets must not marry, pal.”
“You should always be trying to write a poem you are unable to write, a poem you lack the technique, the language, the courage to achieve. Otherwise you're merely imitating yourself, going nowhere, because that's always easiest.”
“Life, friends, is boring. We must not say so.After all, the sky flashes, the great sea yearns,we ourselves flash and yearn”
“The splendour & the lose grew all the same, Sire.”
“I am so wise I had my mouth sewn shut.”