I sit looking out a window at 3:30 this February afternoon. I see a pasture, green out of season and sunlit; in an hour more or less, it will be black. John Berryman walks brightly out of my memory. We met at Princeton through Caroline Gordon, in 1944, the wane of the war. The moment was troubled; my wife, Jean Stafford, and I were introduced to the Berrymans for youth and diversion. I remember expected, probably false, images, the hospital-white tablecloth, the clear martinis, the green antiquing of an Ivy League college faculty club. What college? Not Princeton, but the less spruce Cambridge, England, John carried with him in his speech rhythms and dress. He had a casual intensity, the almost intimate mumble of a don. For life, he was to be a student, scholar, and teacher. I think he was almost the student-friend I’ve had, the one who was the student in essence. An indignant spirit was born in him; his life was a cruel fight to set it free. Is the word for him courage or generosity or loyalty? He had these. And he was always a performer, a prima donna; at first to those he scorned, later to everyone, except perhaps students, his family, and Saul Bellow.
From the first, John was humorous, learned, thrustingly vehement in liking…more adolescent than boyish. He and I preferred critics who were writers to critics who were not writers. We hated literary discussions animated by jealousy and pushed by caution. John’s own criticism, mostly spoken, had a poetry. Hyperenthusiasms made him a hot friend, and could also make him wearing to friends—one of his dearest, Delmore Schwartz, used to say no one had John’s loyalty, but you liked him to live in another city. John had fire then, but not the fire of Byron or Yevtushenko. He clung so keenly to Hopkins, Yeats, and Auden that their shadows paled him.
Later, the Berrymans (the first Berrymans, the first Lowells) stayed with us in Damariscotta Mills, Maine. Too many guests had accepted. We were inept and uncouth at getting the most out of the country; we didn’t own or drive a car. This gloomed and needled the guests. John was ease and light. We gossiped on the rocks of the millpond, baked things in shells on the sand, and drank, as was the appetite of our age, much less than now. John could quote with vibrance to all lengths, even prose, even late Shakespeare, to show me what could be done with disrupted and mended syntax. This was the start of his real style. At first he wrote with great brio bristles of clauses, all breaks and with little to break off from. Someone said this style was like Emily Dickinson’s mad dash punctuation without the words. I copied, and arrived at a manner that made even the verses I wrote for my cousins’ bouts rimés (with “floor,” “door,” “whore,” and “more” for the …
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