The poems in this posthumous collection were written by John Berryman between 1967 and 1972, the year of his death. The first group consists of forty-five unpublished or uncollected Dream Songs, included the title poem, "Henry's Fate." The second part includes eleven short poems; the third is devoted to unfinished longer poems, one of which is the extraordinary draft version of "Washington in Love," more ambitious in scope and intention than the version Berryman published in Delusions, Etc.This section also includes the "Proemio"to a poem addressed to his children, which Berryman was planning as "my third epic," after Homage to Mistress Bradstreet and The Dream Songs. The fourth and final section consists of ten poems of the later period, including "The Alcoholic in the 3rd Week of the 3rd Treatment," and "I didn't," a poem written within forty-eight hours of his death. Henry's Fate and Other Poems has been compiled by John Haffenden, poet and critic, who is at work on the authorized biography of Berrman. In his introduction he reveals that a number of poems turned up in unlikely places: " Old Codger Henry' was found, for example, on a scrap of envelope tucked away in an edition of Coleridge." He cites a satirical epitaph Berryman wrote on himself as early as 1955: "He was a poet. To earn a living—instead of scrounging as he should have done—he lectured on subjects he knew nothing about to students incapable of learning anything." He feels that Berryman "embodied in his life the truth of his own phrase, 'The happier you get the worse you feel.'"
Author
John Allyn Berryman (originally John Allyn Smith) was an American poet, born in McAlester, Oklahoma. He was a major figure in American poetry in the second half of the 20th century and often considered one of the founders of the Confessional school of poetry. He was the author of The Dream Songs, which are playful, witty, and morbid. Berryman committed suicide in 1972. A pamphlet entitled Poems was published in 1942 and his first proper book, The Dispossessed, appeared six years later. Of his youthful self he said, 'I didn't want to be like Yeats; I wanted to be Yeats.' His first major work, in which he began to develop his own unique style of writing, was Homage to Mistress Bradstreet, which appeared in Partisan Review in 1953 and was published as a book in 1956. Another pamphle. His thought made pockets & the plane buckt, followed. It was the collection called Dream Songs that earned him the most admiration. The first volume, entitled 77 Dream Songs, was published in 1964 and won the Pulitzer Prize for poetry. The second volume, entitled His Toy, His Dream, His Rest, appeared in 1968. The two volumes were combined as The Dream Songs in 1969. By that time Berryman, though not a "popular" poet, was well established as an important force in the literary world, and he was widely read among his contemporaries. In 1970 he published the drastically different Love & Fame. It received many negative reviews, along with a little praise, most notably from Saul Bellow and John Bailey. Despite its negative reception, its colloquial style and sexual forthrightness have influenced many younger poets, especially from Britain and Ireland. Delusions Etc., his bleak final collection, which he prepared for printing but did not live to see appear, continues in a similar vein. Another book of poems, Henry's Fate, culled from Berryman's manuscripts, appeared posthumously, as did a book of essays, The Freedom of the Poet, and some drafts of a novel, Recovery. The poems that form Dream Songs involve a character who is by turns the narrator and the person addressed by a narrator. Because readers assumed that these voices were the poet speaking directly of himself, Berryman's poetry was considered part of the Confessional poetry movement. Berryman, however, scorned the idea that he was a Confessional poet.
