Wendell Berry

Berry was the first of four children to be born to John Marshall Berry, a lawyer and tobacco farmer in Henry County, Kentucky, and Virginia Erdman Berry. The families of both parents had farmed in Henry County for at least five generations. Berry attended secondary school at Millersburg Military Institute and then earned a B.A. (1956) and M.A. (1957) in English at the University of Kentucky.[4]^{: 990–991} In 1956, at the University of Kentucky he met another Kentucky writer-to-be, Gurney Norman.[5] He completed his M.A. and married Tanya Amyx in 1957. In 1958, he attended Stanford University's creative writing program as a Wallace Stegner Fellow, studying under Stegner in a seminar that included Larry McMurtry, Robert Stone, Ernest Gaines, Tillie Olsen, and Ken Kesey.[6][7]^: 139 Berry's first novel, Nathan Coulter, was published in April 1960.

A John Simon Guggenheim Memorial Foundation Fellowship took Berry and his family to Italy and France in 1961, where he came to know Wallace Fowlie, critic and translator of French literature. From 1962 to 1964, he taught English at New York University's University Heights campus in the Bronx. In 1964, he began teaching creative writing at the University of Kentucky, from which he resigned in 1977.[7] During this time in Lexington, Kentucky, he came to know author Guy Davenport, as well as author and monk Thomas Merton and photographer Ralph Eugene Meatyard.[8]

On July 4, 1965, Berry, his wife, and his two children moved to Lane's Landing, a 12-acre farm that he had purchased, and began growing corn and small grains on what eventually became a homestead of about 117 acres (47 ha).[4]^: 994 They bought their first flock of seven Border Cheviot sheep in 1978.[4]^: 998 Lane's Landing is in Henry County, Kentucky in north central Kentucky near Port Royal, and his parents' birthplaces, and is on the western bank of the Kentucky River, not far from where it flows into the Ohio River. Berry has farmed, resided, and written at Lane's Landing ever since. He has written about his early experiences on the land and about his decision to return to it in essays such as "The Long-Legged House" and "A Native Hill".[9]

From 1977 until 1980, he edited and wrote for Rodale, Inc. in Emmaus, Pennsylvania, including for its publications Organic Gardening and Farming and The New Farm.[4]^: 998 From 1987 to 1993, he returned to the English Department of the University of Kentucky.[7][10] Berry has written at least twenty-five books (or chapbooks) of poems, sixteen volumes of essays, and twelve novels and short story collections. His writing is grounded in the notion that one's work ought to be rooted in and responsive to one's place.

On February 10, 1968, Berry delivered "A Statement Against the War in Vietnam" during the Kentucky Conference on the War and the Draft at the University of Kentucky in Lexington:[11]

We seek to preserve peace by fighting a war, or to advance freedom by subsidizing dictatorships, or to 'win the hearts and minds of the people' by poisoning their crops and burning their villages and confining them in concentration camps; we seek to uphold the 'truth' of our cause with lies, or to answer conscientious dissent with threats and slurs and intimidations. . . . I have come to the realization that I can no longer imagine a war that I would believe to be either useful or necessary. I would be against any war.[12]

On June 3, 1979, Berry engaged in nonviolent civil disobedience against the construction of a nuclear power plant at Marble Hill, Indiana. He describes "this nearly eventless event" and expands upon his reasons for it in the essay "The Reactor and the Garden."[13]

On February 9, 2003, Berry's essay titled "A Citizen's Response to the National Security Strategy of the United States" was published as a full-page advertisement in The New York Times. Berry opened the essay—a critique of the G. W. Bush administration's post-9/11 international strategy[14]—by asserting that "The new National Security Strategy published by the White House in September 2002, if carried out, would amount to a radical revision of the political character of our nation."[15]

On January 4, 2009, Berry and Wes Jackson, president of The Land Institute, published an op-ed article in The New York Times titled "A 50-Year Farm Bill."[16] In July 2009 Berry, Jackson and Fred Kirschenmann, of The Leopold Center for Sustainable Agriculture, gathered in Washington DC to promote this idea.[17] Berry and Jackson wrote, "We need a 50-year farm bill that addresses forthrightly the problems of soil loss and degradation, toxic pollution, fossil-fuel dependency and the destruction of rural communities."[16]

Also in January 2009, Berry released a statement against the death penalty, which began, "As I am made deeply uncomfortable by the taking of a human life before birth, I am also made deeply uncomfortable by the taking of a human life after birth."[18] And in November 2009, Berry and 38 other writers from Kentucky wrote to Gov. Steve Beshear and Attorney General Jack Conway asking them to impose a moratorium on the death penalty in that state.[19]

On March 2, 2009, Berry joined over 2,000 others in non-violently blocking the gates to a coal-fired power plant in Washington, D.C. No one was arrested.[20]

On May 22, 2009, Berry, at a listening session in Louisville, spoke against the National Animal Identification System (NAIS).[21] He said, "If you impose this program on the small farmers, who are already overburdened, you're going to have to send the police for me. I'm 75 years old. I've about completed my responsibilities to my family. I'll lose very little in going to jail in opposition to your program – and I'll have to do it. Because I will be, in every way that I can conceive of, a non-cooperator."[22]

In October 2009, Berry combined with "the Berea-based Kentucky Environmental Foundation (KEF), along with several other non-profit organizations and rural electric co-op members" to petition against and protest the construction of a coal-burning power plant in Clark County, Kentucky.[23] On February 28, 2011, the Kentucky Public Service Commission approved the cancellation of this power plant.[24]

On December 20, 2009, due to the University of Kentucky's close association with coal interests in the state, Berry removed his papers from the university. He explained to the Lexington Herald-Leader, "I don't think the University of Kentucky can be so ostentatiously friendly to the coal industry … and still be a friend to me and the interests for which I have stood for the last 45 years. … If they love the coal industry that much, I have to cancel my friendship."[25] In August 2012, the papers were donated to The Kentucky Historical Society in Frankfort, KY.[26]

On September 28, 2010, Berry participated in a rally in Louisville during an EPA hearing on how to manage coal ash. Berry said, "The EPA knows that coal ash is poison. We ask it only to believe in its own findings on this issue, and do its duty."[27]

Berry, with 14 other protesters, spent the weekend of February 12, 2011 locked in the Kentucky governor's office to demand an end to mountaintop removal coal mining. He was part of the environmental group Kentuckians for the Commonwealth that began their sit-in on Friday and left at midday Monday to join about 1,000 others in a mass outdoor rally.[28][29]

In 2011, The Berry Center was established at New Castle, Kentucky, "for the purpose of bringing focus, knowledge and cohesiveness to the work of changing our ruinous industrial agriculture system into a system and culture that uses nature as the standard, accepts no permanent damage to the ecosphere, and takes into consideration human health in local communities."[30]

In July 2020, Wendell Berry and his wife Tanya Amyx Berry sued the University of Kentucky to prevent the removal of a mural that has been criticized for being "racially offensive."[31] The mural was commissioned in the 1930s and was done by Ann Rice O'Hanlon, a relative of Tanya Amyx Berry.[32]

In August 2022, at a public hearing of the Henry County, Kentucky planning commission, Wendell Berry spoke against re-zoning agricultural land to allow Angel's Envy distillery to develop the property "for bourbon-barrel storage and the development of an agritourism destination." Despite the testimony by Berry and others, the planning commission granted the re-zoning request.[33][34]

Berry's nonfiction serves as an extended conversation about the life he values. According to him, the good life includes sustainable agriculture,[35] appropriate technologies,[36] healthy rural communities,[37] connection to place,[38] the pleasures of good food,[39] animal husbandry,[40] good work,[41] local economics,[42] the miracle of life,[43] fidelity,[44] frugality,[45] reverence,[46] and the interconnectedness of life.[47] The threats Berry finds to this good simple life include: industrial farming and the industrialization of life,[48] ignorance,[49] hubris,[50] greed,[51] violence against others and against the natural world,[52] the eroding topsoil in the United States,[53] global economics,[54] and environmental destruction.[55] As a prominent defender of agrarian values, Berry's appreciation for traditional farming techniques,[56] such as those of the Amish, grew in the 1970s, due in part to exchanges with Draft Horse Journal publisher Maurice Telleen.[57] Berry has long been friendly to and supportive of Wes Jackson, believing that Jackson's agricultural research at The Land Institute lives out the promise of "solving for pattern" and using "nature as model."

Jedediah Britton-Purdy has considered many of Berry's major themes and concerns:

Over the years, he has called himself an agrarian, a pacifist, and a Christian—albeit of an eccentric kind. He has written against all forms of violence and destruction—of land, communities, and human beings—and argued that the modern American way of life is a skein of violence. He is an anti-capitalist moralist and a writer of praise for what he admires: the quiet, mostly uncelebrated labor and affection that keep the world whole and might still redeem it. He is also an acerbic critic of what he dislikes, particularly modern individualism, and his emphasis on family and marriage and his ambivalence toward abortion mark him as an outsider to the left.[58]

The concept of "Solving for pattern", coined by Berry in his essay of the same title, is the process of finding solutions that solve multiple problems, while minimizing the creation of new problems.[59] The essay was originally published in the Rodale, Inc. periodical The New Farm. Though Mr. Berry's use of the phrase was in direct reference to agriculture, it has since come to enjoy broader use throughout the design community.[60][61]

Berry, who describes himself as "a person who takes the Gospel seriously,"[62] has criticized Christian organizations for failing to challenge cultural complacency about environmental degradation,[63][64] and has shown a willingness to criticize what he perceives as the arrogance of some Christians.[65] He is an advocate of Christian pacifism, as shown in his book Blessed Are the Peacemakers: Christ's Teachings About Love, Compassion and Forgiveness (2005).

Berry's core ideas, and in particular his poem "Sabbaths III, 1989 (Santa Clara Valley)," guided the 2007 documentary feature film The Unforeseen, produced by Terrence Malick and Robert Redford.[66][67] In the film Berry narrates his own poem.[68] Director Laura Dunn went on to make the 2016 documentary feature Look & See: A Portrait of Wendell Berry, again produced by Malick and Redford.[69]

Berry's lyric poetry often appears as a contemporary eclogue, pastoral, or elegy; but he also composes dramatic and historical narratives (such as "Bringer of Water"[70] and "July, 1773",[71] respectively) and occasional and discursive poems ("Against the War in Vietnam"[72] and "Some Further Words",[73] respectively).

Berry's first published poetry book consisted of a single poem, the elegiac November Twenty Six Nineteen Hundred Sixty Three (1964), initiated and illustrated by Ben Shahn, commemorating the death of John F. Kennedy. It begins,

and continues through ten more stanzas (each propelled by the anaphora of "We know"). The elegiac here and elsewhere, according to Triggs, enables Berry to characterize the connections "that link past and future generations through their common working of the land."[74]

The first full-length collection, The Broken Ground (1964), develops many of Berry's fundamental concerns: "the cycle of life and death, responsiveness to place, pastoral subject matter, and recurring images of the Kentucky River and the hill farms of north-central Kentucky."[7]^: 119

According to Angyal, "There is little modernist formalism or postmodernist experimentation in [Berry's] verse."[7]^: 116 A commitment to the reality and primacy of the actual world stands behind these two rejections. In "Notes: Unspecializing Poetry," Berry writes, "Devotion to order that is not poetical prevents the specialization of poetry."[75] He goes on to note, "Nothing exists for its own sake, but for a harmony greater than itself which includes it. A work of art, which accepts this condition, and exists upon its terms, honors the Creation, and so becomes a part of it."[76]

Lionel Basney placed Berry's poetry within a tradition of didactic poetry that stretches back to Horace: "To say that Berry's poetry can be didactic, then, means that it envisions a specific wisdom, and also the traditional sense of art and culture that gives art the task of teaching this wisdom."[77]

For Berry, poetry exists "at the center of a complex reminding"[78] Both the poet and the reader are reminded of the poem's crafted language, of the poem's formal literary antecedents, of "what is remembered or ought to be remembered," and of "the formal integrity of other works, creatures and structures of the world."[79]

Berry's fiction to date consists of eight novels and fifty-five short stories (forty-three of which are collected in That Distant Land, 2004 and A Place in Time, 2012), and one verse drama which, when read as a whole, form a chronicle of the fictional small Kentucky town of Port William. Because of his long-term, ongoing exploration of the life of an imagined place, Berry has been compared to William Faulkner.[84] Yet, although Port William is no stranger to murder, suicide, alcoholism, marital discord, and the full range of losses that touch human lives, it lacks the extremes of characterization and plot development that are found in much of Faulkner. Hence Berry is sometimes described as working in an idealized, pastoral, or nostalgic mode, a characterization of his work which he resists: "If your work includes a criticism of history, which mine certainly does, you can't be accused of wanting to go back to something, because you're saying that what we were wasn't good enough."[85][86]

The effect of profound shifts in the agricultural practices of the United States, and the disappearance of traditional agrarian life,[87] are some of the major concerns of the Port William fiction, though the theme is often only a background or subtext to the stories themselves. The Port William fiction attempts to portray, on a local scale, what "a human economy … conducted with reverence"[88] looked like in the past—and what civic, domestic, and personal virtues might be evoked by such an economy were it pursued today. Social as well as seasonal changes mark the passage of time. The Port William stories allow Berry to explore the human dimensions of the decline of the family farm and farm community, under the influence of expanding post-World War II agribusiness. But these works rarely fall into simple didacticism, and are never merely tales of decline. Each is grounded in a realistic depiction of character and community. In A Place on Earth (1967), for example, farmer Mat Feltner comes to terms with the loss of his only son, Virgil. In the course of the novel, we see how not only Mat but the entire community wrestles with the acute costs of World War II.

Berry's fiction also allows him to explore the literal and metaphorical implications of marriage as that which binds individuals, families, and communities to each other and to Nature itself—yet not all of Port William is happily or conventionally married. "Old Jack" Beechum struggles with significant incompatibilities with his wife, and with a brief yet fulfilling extramarital affair. The barber Jayber Crow lives with a forlorn, secret, and unrequited love for a woman, believing himself "mentally" married to her even though she knows nothing about it. Burley Coulter never formalizes his bond with Kate Helen Branch, the mother of his son. Yet, each of these men find themselves firmly bound up in the community, the "membership," of Port William.

Of his fictional project, Berry has written: "I have made the imagined town of Port William, its neighborhood and membership, in an attempt to honor the actual place where I have lived. By means of the imagined place, over the last fifty years, I have learned to see my native landscape and neighborhood as a place unique in the world, a work of God, possessed of an inherent sanctity that mocks any human valuation that can be put upon it."[89] Elsewhere, Berry has said, "The only thing I try to accomplish in fiction is to show how people act when they love each other."[90] The novels and stories can be read in any order.

In January, 2018, the Library of America published a volume of Berry's fiction—the first of a projected four volumes of his writing. Wendell Berry: Port William Novels & Stories (The Civil War to World War II) contains four novels and twenty-three short stories in chronological order according to the stories' events.[91] Berry is one of very few living writers currently featured in the Library of America catalog.[92]

• Agrarianism
• Fellowship of Southern Writers
• Front Porch Republic
• The Land Institute
• John Seymour (author)
• Local food
• Localism (politics)
• Southern Agrarians
• Sustainability
• Subsidiarity
• Wallace Stegner
• Wes Jackson

• Baker, Jack and Jeffrey Bilbro, ed. Telling the Stories Right: Wendell Berry's Imagination of Port William. Eugene, OR: Front Porch Republic Books, 2018.
• Baker, Jack and Jeffrey Bilbro. Wendell Berry and Higher Education: Cultivating Virtues of Place. Lexington: University Press of Kentucky, 2017.
• Bilbro, Jeffrey. Virtues of Renewal: Wendell Berry's Sustainable Forms. Lexington, University Press of Kentucky, 2019.
• Bilbro, Jeffrey. "The Way of Love: Berry's Vision of Work in the Kingdom of God," in Loving God's Wildness: The Christian Roots of Ecological Ethics in American Literature. Tuscaloosa: University of Alabama Press, 2015. 138-178.
• Bonzo, J. Matthew and Michael R. Stevens. Wendell Berry and the Cultivation of Life: A Reader's Guide. Grand Rapids: Brazos, 2008.
• Goodrich, Janet. The Unforeseen Self in the Works of Wendell Berry. Columbia: University of Missouri Press, 2001.
• Heinzelman, Kurt (1980), Indigenous Art: The Poetry of Wendell Berry, in Bold, Christine, (ed.), Cencrastus No. 2, Spring 1980, pp. 34 – 37, ISSN 0264-0856
• Merchant, Paul, ed. Wendell Berry (American Authors Series). Lewiston, Idaho: Confluence, 1991.
• Mitchell, Mark and Nathan Schlueter. The Humane Vision of Wendell Berry. Wilmington, DE: ISI Books, 2011.
• Oehlschlaeger, Fritz. The Achievement of Wendell Berry: The Hard History of Love. Lexington: University Press of Kentucky, 2011.
• Peters, Jason, ed. Wendell Berry: Life and Work. Lexington: University Press of Kentucky, 2007.
• Shuman, Joel James and Owens, L. Roger (eds). Wendell Berry and Religion: Heaven's Earthly Life. Lexington: University Press of Kentucky, 2009.
• Smith, Kimberly K. Wendell Berry and the Agrarian Tradition: A Common Grace. Lawrence: University Press of Kansas, 2003.
• Sutterfield, Ragan. Wendell Berry and the Given Life. Cincinnati, OH: Franciscan Media, 2017.
• Wiebe, Joseph R. The Place of Imagination: Wendell Berry and the Poetics of Community, Affection, and Identity. Waco, TX: Baylor University Press, 2017

• The Wendell Berry Catalogue from Counterpoint Press
• Internet Resources
• The Membership: A Wendell Berry Podcast
• The Berry Center