My introduction to Berry came in reading his Long-Legged House while sitting on a gorgeous Navajo rug on the floor of the Ostroms’ contemporary home atop a wooded ravine in southern Indiana. It was a magical matrix, considering the story.
Berry was the embodiment of back-to-the-earth, having returned to his native Kentucky in 1964 and taking up farming by horse teams (or maybe mules). He did so to the consternation of colleagues in Manhattan who argued that he was just beginning to make a name for himself and that he’d lose his momentum and start writing sentimental verse about bluegrass.
Instead, he struck gold. His poems grew from real friendships and longstanding relationships. A bigger calling came in his environmental advocacy, especially as it expanded into real economics that countered the bean counters whose views neglected the value of parents, conservation, health, and the like. It even led him to a radical Christianity, including pacifism, and work with the Amish, where he met David Kline, whose weekly birdwatching columns were collected into a wonderful book, Great Possessions, which Berry helped shepherd to publication. (It’s about much more than birds, believe me. If you’re curious about Amish life, I’d suggest starting here.)
There’s something that’s much more life-affirming in Berry’s writing than in Robinson Jeffords’ strong but misanthropic nature poems from a generation earlier.
Berry had noted that his efforts at rebuilding the soil on his farm took 16 or 17 years to show signs of rebounding. It was something I later observed in our gardening in Dover, dealing with what my wife called Dead Dirt. Over the seasons, ours began to soften and then welcome earthworms and finally flowers and vegetables.
So it is with Berry’s pages.