The Brilliant Work and Difficult Life of John BerrymanPart One
This article appeared in the Mosaic section of Ceylon Today on Sunday August 10
The school of “Confessional Poetry” was associated with several writers who redefined American poetry in the ’50s and ’60s. These included Robert Lowell, Anne Sexton, Sylvia Plath, and John Berryman, ‘Confessionalism’ is a style focusing on extreme moments of individual experience, the psyche, and personal trauma, including previously taboo subjects such as mental illness, sexuality, and suicide.
John Berryman incorporated much of his personal experience into his poems and his was an eventful life. The poet started out as John Allyn Smith Jr. He was born in Oklahoma where he was raised until the age of ten, and then submitted to a peripatetic existence. When Berryman was twelve years old, his father, John Allyn Smith Sr, shot himself. With the Florida land bust, suicide was not uncommon and Smith’s death did not grab the attention of the Tampa police. Much was made of Smith’s insomnia, depression and money worries, but nothing of his marital problems or the absence of powder burns. Ten weeks after her husband’s death, Martha Smith married John Angus Berryman, who had been her lover before Smith’s demise. The future poet took the new husband’s name and was taught to call him “Uncle Jack”. His mother took to calling herself “Jill”.
His father’s suicide (or murder?) left a mark on the poet.
Thought I much then of perforated daddy,
daddy boxed in & let down with strong straps,
when I my friends’ homes visited, with fathers
universal and intact
In his 1990 biography of Berryman, Dream Song, Paul Mariani wrote: “Much of what Berryman wrote about himself in his various autobiographical guises was brilliantly and highly original in its manner of saying. But it was also oblique, defeated, and – because of his long obsessions with alcohol, love, and fame – often, as he came himself to understand, delusory”.
After a long struggle with alcoholism and mental illness, Berryman threw himself off a bridge in 1972.
Berryman’s early work formed part of a volume entitled Five Young American Poets, published by New Directions in 1940. One of the other young poets included in the book was Randall Jarrell, whom I will discuss in future articles. New Directions published Berryman’s first book, entitled Poems, in 1942. His first mature book, The Dispossessed, appeared six years later, published by William Sloane Associates. Charles Thornbury recognised in this early work themes that would recur throughout Berryman’s work- the rite of reformation, cycles moving simultaneously to the alternations of day and night, desire and conception, the progression of the seasons, and the stages of youth and age.
The Dispossessed was not well-received. Randall Jarrell wrote, in The Nation, that Berryman was “a complicated, nervous, and intelligent [poet]” whose poetry in The Dispossessed was too derivative of WB Yeats. Berryman later said, “I didn’t want to be like Yeats; I wanted to be Yeats.”
The influence of Yeats is everywhere in the early work. Berryman also tried on the ill-fitting public persona of the WH Auden of the 1930s. Most of these socio-political poems are what Randall Jarrell called ”statues talking like a book”.
In 1947, Berryman started an affair with a married woman named Chris while he was still married to his first wife, Eileen. He documented the affair with a sonnet sequence of over a hundred poems. This marked a major stage in his development, moving from a public rhetorical style to a more intimate, confessional, nervous voice. He refrained from publishing the Sonnets to Chris until 1967.
Homage to Mistress Bradstreet
Berryman’s first major work was Homage to Mistress Bradstreet. The long title poem first appeared in Partisan Review in 1953 and the book was published in 1956. Berryman addressed the life of 17th century puritan American poet Anne Bradstreet, the first recognized poet of the American literary tradition, and combined her history with his own fantasies about her. Berryman told an interviewer in 1972: “The idea was not to take Anne Bradstreet as a poetess – I was not interested in that. I was interested in her as a pioneer heroine, a sort of mother to the artists and intellectuals who would follow her and play a large role in the development of the nation.”
Anne Bradstreet enjoyed a relatively privileged life in England. She was born in Northampton, in 1612, the daughter of Thomas Dudley, a steward of the Earl of Lincoln. Because of her family’s position, she grew up in cultured circumstances and was a well-educated woman for her time, tutored in history, several languages and literature. At the age of sixteen, she married Simon Bradstreet. At the age of eighteen, she, her husband, and her parents sailed with John Winthrop for the Puritan settlement at Massachusetts Bay. Her first book of poems, The Tenth Muse Lately Sprung Up in America, was published in England in 1650 by her brother-in-law without her knowledge. These first poems are sometimes candid and immediate, but more often they are conventional in style and on accepted topics — her love for husband, children, God. Later poems show a different attitude. Both Anne’s father and husband were later to serve as governors of the Massachusetts Bay Colony.
In Homage to Mistress Bradstreet, a series of fifty-seven, eight-line verses, Berryman comments on, converses with and courts Bradstreet and sometimes speaks as her. In section 31, Berryman has Bradstreet moving towards him:
–It is Spring’s New England. Pussy willows wedge
up in the wet. Milky crestings, fringed
yellow, in heaven, eyed
by the melting hand-in-hand or mere
desirers single, heavy-footed, rapt,
make surge poor human hearts. Venus is trapt—
the hefty pike shifts, sheer—
in Orion blazing. Warblings, odours, nudge to an edge-
Berryman employed an eight-line stanza of great flexibility, gravity and lightness. The poem took him five years to complete and demanded much from the reader but won plaudits from critics at the time and continued to win praise in later years. In 1989, Edward Hirsch observed, “the 57 stanzas of Homage to Mistress Bradstreet combine the concentration of an extended lyric with the erudition and amplitude of a historical novel.” Berryman’s friend Saul Bellow described the poem as “the equivalent of a 500-page psychological novel”.
Out of maize & air
your body’s made, and moves. I summon, see,
from the centuries it.”
Berryman makes Mistress Bradstreet a rebel speaking out against the constraints of gender and environment. The underlying subject is, as Berryman indicated later, ”the almost insuperable difficulty of writing high verse in a land that cared and cares so little for it.” The poem examines the tension between Bradstreet’s personal life and her artistic life, concluding in a spirit of fatalism. The work primarily examines creative repression, religious apostasy, and the temptation to adultery. Critic Luke Spencer focused on “Berryman’s intimate dialogue with Anne Bradstreet and the mutual sexual attraction”. Berryman tried to “colonise” and seduce a virtuous member of the Puritan community by turning her into his mistress. Berryman portrays her as rejecting both her husband and father and the Puritan deity that sanctions their view of life. The historical Bradstreet’s letters portray her as a model of devotion to her husband; members of her family encouraged her writing of poetry.
Among the most moving parts of Berryman’s work are about Bradstreet’s conflicts with her own sensuality and the struggle for religious faith and peace. Berryman finds Bradstreet’s value and meaning in her suffering.
Veiled my eyes, attending. How can it be I?
Moist, with parted lips, I listen, wicked.
I shake in the morning & retch.
Brood I do on myself naked.
A fading world I dust, with fingers new.
—I have earned the right to be alone with you.
—What right can that be?
Convulsing, if you love, enough, like a sweet lie.
More about Berryman’s life next week and about his masterwork Dream Songs.