“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”

“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.”

“…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 am so wise I had my mouth sewn shut.”

“I conclude now I have no inner resources, because I am heavy bored. Peoples bore me, literature bores me, especially great literature, ”

“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.”

“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 . . .”