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    The Heart Is Strange: New Selected Poems
    The Heart Is Strange: New Selected Poems
    The Heart Is Strange: New Selected Poems
    Ebook202 pages1 hour

    The Heart Is Strange: New Selected Poems

    By John Berryman

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    About this ebook

    A lively sampling from the work of one of the most celebrated and daring poets of the twentieth century

    John Berryman was perhaps the most idiosyncratic American poet of the twentieth century. Best known for the painfully sad and raucously funny cycle of Dream Songs, he wrote passionately: of love and despair, of grief and laughter, of longing for a better world and coming to terms with this one. The Heart Is Strange, a new selection of his poems, along with reissues of Berryman's Sonnets, 77 Dream Songs, and the complete Dream Songs, marks the centenary of his birth.
    The Heart Is Strange includes a generous selection from across Berryman's varied career: from his earliest poems, which show him learning the craft, to his breakthrough masterpiece, "Homage to Mistress Bradstreet," then to his mature verses, which find the poet looking back upon his lovers and youthful passions, and finally, to his late poems, in which he battles with sobriety and an increasingly religious sensibility.
    The defiant joy and wild genius of Berryman's work has been obscured by his struggles with mental illness and alcohol, his tempestuous relationships with women, and his suicide. This volume, which includes three previously uncollected poems and an insightful introduction by the editor Daniel Swift, celebrates the whole Berryman: tortured poet and teasing father, passionate lover and melancholy scholar. It is a perfect introduction to one of the finest bodies of work yet produced by an American poet.

    LanguageEnglish
    PublisherMacmillan Publishers
    Release dateOct 21, 2014
    ISBN9780374713591
    The Heart Is Strange: New Selected Poems
    Author

    John Berryman

    John Berryman (1914-1972) was an American poet and scholar. He won the Pulitzer Prize for 77 Dream Songs in 1965 and the National Book Award and the Bollingen Prize for His Toy, His Dream, His Rest, a continuation of the Dream Songs, in 1969.

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      The Heart Is Strange - John Berryman

      Introduction

      John Berryman saw birthdays as imaginative opportunities. Lecturing at Princeton in March 1951, he pictured Shakespeare on his thirtieth birthday. Suppose with me a time, a place, a man who was waked, risen, washed, dressed, fed, congratulated, on a day in latter April long ago, he began: about April 22, say, of 1594, a Monday. A birthday is a chance to greet across time: to hail a predecessor. In a late poem Berryman addressed Emily Dickinson. It is December 10, 1970, and in Your Birthday in Wisconsin You Are 140 he raises his glass to her. Well. Thursday afternoon, I’m in W——, he writes: "drinking your ditties, and (dear) they are alive. A birthday is a moment of invention. The climax of his long poem Homage to Mistress Bradstreet is a violent, beautiful childbirth. No. No. Yes! everything down / hardens I press with horrible joy down, shouts Anne: I did it with my body!" Close to the end of The Dream Songs, the cycle for which Berryman is best known, he writes: Tomorrow is his birthday, makes you think. John Berryman was born in McAlester, Oklahoma, on October 25, 1914, and this selection of his poems marks his centenary.

      Bringing a man to life: this was his imaginative project. On March 12, 1969, collecting a prize at the National Book Awards, Berryman explained that his aim in The Dream Songs was the reproduction or invention of the motions of a human personality, free and determined. These poems describe a sad man called Henry. So may be Henry was a human being, he writes in Dream Song 13:

      Let’s investigate that.

      … We did; okay.

      He is a human American man.

      In producing him, they explore the conditions of his invention. Let us suppose, he begins, in Dream Song 15:

      one pal unwinding from his labours in

      one bar of Chicago,

      and this did actual happen. This was so.

      Just because we must imagine him does not mean that he is not real; nor is he exactly the same as Berryman. The poem, he asserts in a note, is essentially about an imaginary character (not the poet, not me) named Henry, but the distance between the two remains a little blurred.

      Berryman has not been canonized, quite; he has not continued to receive the respect, even awe, accorded to his great contemporaries Robert Lowell and Elizabeth Bishop. This may be because he appears a little less serious than they do. He is certainly funnier than they are, constantly mirthful about the process of critical celebration and literary canonization. [L]iterature bores me, especially great literature, complains Dream Song 14. Henry bores me, with his plights & gripes / as bad as achilles, it continues, and the joke is only half that Henry is no Achilles. It is also in the mismatch of classical literature and teenage ennui, balanced by the voice.

      Berryman has, however, found a curious afterlife in the early decades of the twenty-first century. He appears unexpectedly and often in songs by indie rock bands. In Mama, Won’t You Keep Them Castles in the Air and Burning? by the band Clap Your Hands Say Yeah, the singer intones joylessly, I came softly, slowly / Banging me metal drum / Like Berryman. The Australian singer Nick Cave named one of his albums Henry’s Dream (1992), and in the song We Call Upon the Author from 2008 he returns to Berryman. Berryman was the best! he yelps: He wrote like wet papier-mâché, went the Heming-way.

      These bands take Berryman as an emblem of the hard-living, misunderstood poet: it is a Romantic vision of the man and hinges upon his alcoholism, suffering, and early death. Berryman committed suicide by jumping from the Washington Avenue Bridge in Minneapolis in January 1972, and this is the moment these songs return to. "There was that night that we thought John Berryman could fly, sing the band The Hold Steady in Stuck Between Stations, and the song invents the scene. The Devil and John Berryman, they took a walk together, the song imagines, and it starts to speak for him: He said, ‘I’ve surrounded myself with doctors and deep thinkers / Their big heads and soft bodies make for lousy lovers.’"

      John Allyn Smith Sails by the band Okkervil River borrows Berryman’s original name and mixes his story with a classic pop song from the 1960s. The fortuitously named Sloop John B is in turn a pop cover of an old folk song, and this new version ends with Berryman’s voice:

      I’m full in my heart and my head

      And I want to go home

      With a book in each hand

      In the way I had planned

      Well, I feel so broke up, I want to go home.

      With a book in each hand: this is the final image of the first volume of Dream Songs, 77 Dream Songs, as a worn-down Henry determines to keep living:

                                  with in each hand

      one of his own mad books and all,

      ancient fires for eyes, his head full

      & his heart full, he’s making ready to move on.

      Outside the confines of his own published works, Berryman’s words and image have moved into popular American myth, blended with the Faustian backstory of the blues—a singer who trades with the devil—and the old notion of the artist as troubled outsider. Like the Dream Songs, these indie rock bands are supposing a man, someone halfway between the invented and the real.

      These are all, however, versions of Berryman’s life, and when we turn to the works they may at first look tied to a particular historical period. Berryman’s poems are filled with the bric-a-brac of 1950s and 1960s America: Ben Hur, Ike, the Viet Cong, and Buddhist monks setting themselves on fire. We hear of medicines and magazines of the time: LSD, Sparine, Haldol, and Serax; National Geographic and Time. His characters eat chicken paprika and drink frozen daiquiris, and speak lines from old vaudeville shows. Berryman loved blues music, and alludes to it throughout: Bessie Smith, Pinetop Perkins, Empty Bed Blues (empty grows every bed ends the first Dream Song). In New Year’s Eve from Berryman’s first full collection, The Dispossessed (1948), the speaker is at a party where Somebody slapped / Somebody’s second wife somewhere, and the line conjures an age perhaps best known to us now from TV shows. It is easy to read these poems as historical documents.

      This is, however, too narrow an understanding of Berryman’s sense of history: for his listing of all these temporary possessions and fashions is also in the service of an ambition outside time. He wishes to capture what it is to be a human, alive and present in the culture. Reading Berryman therefore involves a little time travel, and this is the magic trick of deeply sympathetic literature: to exist in one instant both in the past and present, in two places at once. Berryman’s Sonnets trace the story of a love affair, and one of them describes an evening when Berryman and his lover are far from each other. They have agreed to each separately at six o’clock go to a bar. I lift—lift you five States away your glass, he explains, and although she has never been to this bar—Wide of this bar you never graced—and although there are other, ugly sounds and interruptions—wet strange cars pass and The spruce barkeep sports a toupee alas—they are for this moment with each other. Grey eyes light! and we have our drink together, it ends. Written before an age of cell phones, this event seems oddly archaic, sweet and old-fashioned. It is also magical, in its faith in will over circumstance, and it is what we do—in miniature—when we read. Berryman invites us to drink with him. In reading his poems, we clink glasses across the decades.

      To celebrate Berryman on his one hundredth birthday, Farrar, Straus and Giroux have reissued his three major collections of poetry: Berryman’s Sonnets, 77 Dream Songs, and the complete cycle of 385 Dream Songs. Each has a new introduction by a poet: April Bernard, Henri Cole, and Michael Hofmann. In preparing this second edition of the New Selected volume, I have consulted with these three poets in choosing representative samples from both the sonnets and the Dream Songs, and I have tried to include those that show Berryman’s skill and style as a poet as well as those that are, simply, our favorites. But these three collections are not all of Berryman’s published poetry. This New Selected draws upon the whole of Berryman’s career. Here are poems from his first major collection, The Dispossessed (1948); the complete Homage to Mistress Bradstreet (1953), which is his masterpiece, in the

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