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Poetry





• November Twenty Six Nineteen Hundred Sixty Three, 1964 poem


• The Broken Ground, 1964


• Openings, 1968


• "The Peace of Wild Things" (poem in Openings, 1968)


• Findings, 1969


• Farming: A Handbook, 1970


• The Country of Marriage, 1973


• Sayings & Doings, 1975


• To What Listens, 1975


• Horses, 1975 chapbook poem


• Kentucky River, Two Poems, 1976


• There is Singing Around Me, 1976


• Clearing, 1977


• Three Memorial Poems, 1977


• The Gift of Gravity, 1979


• A Part, 1980


• The Salad, 1980 chapbook poem


• The Wheel, 1982


• From the Distance, 1982 broadside


• Collected Poems 1957-1982, 1985


• The Wild Rose, 1986 broadside


• The Landscape of Harmony, 1987


• Sabbaths, 1987


• I go from the woods into the cleared field, 1987 broadside poem


• Traveling at Home, 1989


• Sayings & Doings and An Eastward Look, 1990


• Entries: Poems, 1994


• A Timbered Choir: The Sabbath Poems, 1979-1997, 1998


• Selected Poems of Wendell Berry, 1998


• Sabbaths 2002, 2004 chapbook


• Given, 2005


• Window Poems, 2007

Agrarian theorist

In 1930, Ransom along with 11 other Southern Agrarians published the Agrarian manifesto I'll Take My Stand: The South and the Agrarian Tradition, which bemoaned the tide of modernity that appeared to be sweeping away traditional Southern and American culture. Ransom at first defended the manifesto's assertion that the industrialization of modern society was a dehumanizing force, in various essays influenced by his Agrarian beliefs. In 1936, however, he expressed some doubts about the position, and in 1945 publicly renounced it. It is also curious that in 1937, Ransom moved his career from a Southern university very hospitable to the Southern tradition in letters and social philosophy, to a northern, albeit deeply rural, liberal arts college that was less so.

Ransom's abandonment of Agrarianism was foreshadowed by one of his most famous essays, "God Without Thunder: An Unorthodox Defense of Orthodoxy" (1930), a philosophically informed defense of the stern, "inscrutable" God of the Old Testament as opposed to the permissive Jesus, there equated with modern science. Ransom's "traditionalist" assertions in this essay are overshadowed by its critique and rejection of the (American) religious offerings of his day.

Why do most modern men hate poetry? Why is poetry now largely considered the domain of effeminacy?