A major theme in Berryman’s work is the burden of personal loss—especially the long shadow of his father’s death. Rather than expressing pain directly, he transforms it into dramatic, almost theatrical lyric moments. This gives his poetry a raw honesty while also maintaining a complex, layered structure. Berryman’s voice can move from playful to tragic within a single stanza, capturing the contradictions of human emotion. His poems challenge readers but reward them with deep insight into vulnerability, identity, and resilience. Overall, Berryman’s work remains powerful for its bold experimentation and its fearless exploration of the wounded inner self.
The Ball Poem
By John Berryman
What is the boy now, who has lost his ball.
What, what is he to do? I saw it go
Merrily bouncing, down the street, and then
Merrily over—there it is in the water!
No use to say 'O there are other balls':
An ultimate shaking grief fixes the boy
As he stands rigid, trembling, staring down
All his young days into the harbour where
His ball went. I would not intrude on him,
A dime, another ball, is worthless. Now
He senses first responsibility
In a world of possessions. People will take balls,
Balls will be lost always, little boy,
And no one buys a ball back. Money is external.
He is learning, well behind his desperate eyes,
The epistemology of loss, how to stand up
Knowing what every man must one day know
And most know many days, how to stand up
And gradually light returns to the street,
A whistle blows, the ball is out of sight.
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
Or whistling, I am not a little boy.
Dream Song 14
By John Berryman
Life, friends, is boring. We must not say so.
After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatingly) ‘Ever to confess you’re bored
means you have no
Inner Resources.’ I conclude now I have no
inner resources, because I am heavy bored.
Peoples bore me,
literature bores me, especially great literature,
Henry bores me, with his plights & gripes
as bad as achilles,
who loves people and valiant art, which bores me.
And the tranquil hills, & gin, look like a drag
and somehow a dog
has taken itself & its tail considerably away
into mountains or sea or sky, leaving
behind: me, wag.
Dream Song 29
By John Berryman
There sat down, once, a thing on Henry’s heart
só heavy, if he had a hundred years
& more, & weeping, sleepless, in all them time
Henry could not make good.
Starts again always in Henry’s ears
the little cough somewhere, an odour, a chime.
And there is another thing he has in mind
like a grave Sienese face a thousand years
would fail to blur the still profiled reproach of. Ghastly,
with open eyes, he attends, blind.
All the bells say: too late. This is not for tears;
thinking.
But never did Henry, as he thought he did,
end anyone and hacks her body up
and hide the pieces, where they may be found.
He knows: he went over everyone, & nobody’s missing.
Often he reckons, in the dawn, them up.
Nobody is ever missing.
Sonnet 13
By John Berryman
I lift—lift you five States away your glass,
Wide of this bar you never graced, where none
Ever I know came, where what work is done
Even by these men I know not, where a brass
Police-car sign peers in, wet strange cars pass,
Soiled hangs the rag of day out over this town,
A juke-box brains air where I drink alone,
The spruce barkeep sports a toupee alas—
My glass I lift at six o'clock, my darling,
As you plotted . . Chinese couples shift in bed,
We shared today not even filthy weather,
Beasts in the hills their tigerish love are snarling,
Suddenly they clash, I blow my short ash red,
Grey eyes light! and we have our drink together.
A Professor's Song
(. . .rabid or dog-dull.) Let me tell you how
The Eighteenth Century couplet ended. Now
Tell me. Troll me the sources of that Song---
Assigned last week---by Blake. Come, come along,
Gentleman. (Fidget and huddle, do. Squint soon.)
I want to end these fellows all by noon.
'That deep romantic chasm'---an early use;
The word is from the French, by our abuse
Fished out a bit. (Red all your eyes. O when?)
'A poet is a man speaking to men':
But I am then a poet, am I not?---
Ha ha. The radiator, please. Well, what?
Alive now---no---Blake would have written prose,
But movement following movement crisply flows,
So much the better, better the much so,
As burbleth Mozart. Twelve. The class can go.
Until I meet you, then, in Upper Hell
Convulsed, foaming immortal blood: farewell.
Dream Song 1
John Berryman
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.
