April Bernard

“It is as if the poet set fire to her earlier work and wrote these poems in the light of those flames.”—Mark Wunderlich April Bernard explores subjects ranging from childhood anger to adult grief, from a museum of skulls to the Western movie genre. By turns playful, sorrowful, and sharp-edged, Brawl and Jag stands as Bernard’s most personal and accessible collection to date. From “Anger”: I always lie when I always say I didn’t know the gun was loaded.

Brawl & Jag: Poems

John Berryman

A brilliant and fiercely pitched sonnet cycle about love: at once passionate, forbidden, and doomed John Berryman was an unconventional poet, but he must have surprised even himself when, in his thirties, he found he was suddenly compelled to write sonnets. It was an unusual choice—even an unpopular one—for a poet in a midcentury American literary scene that was less interested in forms. But it was the right choice, for Berryman found himself in a situation that called for the sonnet: after several years of a happy marriage, he had fallen helplessly, hopelessly in love with the young wife of a colleague. “Passion sought; passion requited; passion delayed; and, finally, passion utterly thwarted”: this is how the poet April Bernard, in her vivid, intimate introduction, characterizes the sonnet cycle, and it is the cycle that Berryman found himself caught up in. Of course the affair was doomed to end, and end badly. But in the meantime, on the page Berryman performs a spectacular dance of tender, obsessive, impossible love in his “characteristic tonal mixture of bravado and lacerating shame-facedness.” Here is the poet as lover, genius, and also, in Bernard’s words, as nutcase. In Berryman’s Sonnets, the poet draws on the models of Petrarch and Sidney to reanimate and reimagine the love-sonnet sequence. Complex, passionate, filled with verbal fireworks and the emotional strains of joy, terror, guilt, and longing, these poems are ripe for rediscovery by contemporary readers.

Berryman's Sonnets

What does one sensitive but ordinary woman makes of a publicly disgraced woman like Fuller, and how do women make use of what they learn from other women? Miss Fuller is a historical novel that also poses timeless questions about how we see and treat the exceptional and dangerous agents of change among us. And it shows the price that any one person might pay, who strives to change the world for the better. It is 1850. Margaret Fuller--feminist, journalist, orator, and "the most famous woman in America"--is returning from Europe where she covered the Italian revolution for The New York Tribune. She is bringing home with her an Italian husband, the Count Ossoli, and their two-year-old son. But this is not the gala return of a beloved American heroine. This is a furtive, impoverished return under a cloud of suspicion and controversy. When the ship founders in a hurricane off Long Island and Fuller and her small family drown, her friends back home, Emerson and others of the Transcendentalist Concord circle, send Henry David Thoreau to the wreck in hopes of recovering her last book manuscript. He comes back declaring himself empty-handed--but actually he has found a private and revealing document, a confession in letters, of a strong and beloved woman's life like no other in the 19th century. Her account of the life of the mind and body, of experiences in Rome under siege, of dangerous childbirth and great physical and moral courage--are eventually revealed to her one reader, Thoreau's youngest sister, Anne. She was the most famous woman in America. And nobody knew who she was.

April Bernard

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