Month: December 2025

“Something Good” – Wendell Berry and Remembering When We Made a Difference

Nothing comes from nothing
Nothing ever could
So somewhere in my youth or childhood
I must have done something good. (from “Something Good,” The Sound of Music)

Last week, I wrote about the regrets that we all have about our pasts and wondered about the best way to handle them in our old age.  Reading Wendell Berry’s new book, Marce Catlett: The Force of a Story, made me think about the “good” things from the past.  If you’re like me, you spend much more time with your shames and regrets than you do with “worthy” acts.  What things in our lives have been for the good, what experiences have we had and stories have we told that made a positive difference, which resulted in “something good”?  The fortunate among us have had an old friend, student, or co-worker thank us years later for something we did not even remember doing for them or for kind words that we can’t even recall at all.  It would probably do us all good to dwell more often on the positive aspects of our lives and less often on our (numerous) regrets.

Berry’s book is narrated by Andy, the very elderly grandson of Marce Catlett.  Long ago, Marc stood up to the Duke Tobacco interests by sharing his experience with his neighbors.  His oft-repeated story of one day, told over and over, shaped the lives of all those around him in the wonderful world of Port William.  The day was devastating, but the main part of the story is about how Marce immediately picked up and carried on and worked with fellow farmers so that such a day would never happen to them again.

First, let me say that Wendell Berry just published this book at the age of 91, and it is a true gift for all of us.  Marce Catlett  is a spare book written with a sledgehammer, and not just a story about 1917.  Berry has a pretty good idea about not only what is wrong in Washington these days, but what is wrong with all of us.  And our children.    The novel can be read in a day, but it would take much longer than a day to forget it – and so it was with Marce Catlett’s story about coming home from a tobacco auction with less money in his pocket than it had taken him to grow the crop.

Wendell Berry is a wonderful writer about wonderful things; many of us know his poetry (think of “The Peace of Wild Things” or “How to be A Poet).   We also have read his essays, which go back to the 1960s and include gems like “Living in the Presence of Fear” and “Why I’m Not Going to Buy a Computer.”  But it is his fiction – the novels and stories of Port William – that future generations will look back on for a prophetic voice that was seldom heeded.  Marce Catlett is simply the culmination of this story.  You do not have to have read any of the others to appreciate this latest (but hopefully not last) work though; Berry fills us in.  I was greatly disappointed not to find it listed in this week’s NYTimes Book Review as among the best of 2025; they are wrong.  It is probably the very best of 2025.  And relevant to us elders – written by an elder, narrated by a very old man, and insistently recalling the valuable parts of a world gone by.

And I might add one more thing here.  In Wendell Berry and Marilynne Robinson we have two writers who give us alternative views (alternative to both evangelical and mainstream religion) of the place of Christianity in human life.  For those of us whose symbols, music, and history are steeped in the Christian faith, such alternatives are much needed and hard to come by.  I don’t know if this will be Berry’s last novel, but it is precious cargo, nevertheless.

Almost all of Berry’s fiction – like most of Faulkner’s – takes place in a well-defined place and gives priority to the work that is done in that place.  Like the descriptions of whaling in Moby-Dick, which ground us in the real and creates a community among the participants, in Berry’s latest book we get the details of raising a certain kind of tobacco.  We all spent much of our lives working – often in jobs that do not even exist anymore. Berry reminds us that the work was real. The lives were real.  At one point he catalogues the buildings and equipment on the old farms and says he is not writing a requiem for all that, but for “the way that once lived among them, the paths worn and wearing day by day, which connected them to one man’s effort and desire” (145).  This tribute to a careful kind of farming stands alongside a description of a careful kind of living that we don’t encounter very often these days.  It also reminds us that the memory of the old – for instance, about how to grow a crop or prepare a recipe – used to be greatly valued.  Now we are more likely to go to AI than Grandpa for such knowledge.

The book is also a diatribe against greed.  “Greed has passed to and fro over the whole earth, reducing life to matter and matter to price.  Though time and change bring sorrow, they belong to the seasons, to fecundity and health, and greed is a mortal disease” (150).  Indeed.  My guess is that was the reason Wendall Berry penned another book in his ninetieth year was to make precisely this point in a world that is sacrificing everything to… greed.

In the end, Andy comes “at last to see his grandfather Catlett, his father, and himself as three aged brothers.”  In his own old age, he now understands their old age.  I often think of my grandparents in this regard and wish I had appreciated them more.  They too had their stories of survival that come back to me – like the one about how, during the Depression, they rented out their house and lived in a neighbor’s garret in order to realize some desperately needed marginal income.  They laughed when they told the tale; they were proud that they had found a way to get through.  I see lessons there that I did not see when I was younger – including a lesson from the laughter.

I was very disappointed that Berry’s new book was not included in the NYTimes notable books for 2025, but there is a poem by Wendell Berry (“The Loved Ones”) in a recent New Yorker.  And, if you like Marce Catlett, there is reading for the rest of your lifetime in the stories of the people of Port William.  These books will change you.  They will inspire you.  And, hopefully, they will nudge you to recall the stories of your life that made a positive difference.  You “must have done something good.”  Yes.

In relation to old age, I would also particularly recommend Berry’s short stories “Fidelity” and “The Inheritors.”  The first is about the end of the life of one man and the effect on those who loved him.  It will get you thinking about technology and death and community.  The other is a portrait of an active man entering into the diminishments of old age and yet keeping his spirit whole.  Read them. 

Three Stories About Old People with Regrets

I read a couple of books and watched a movie lately about old people at the end of their lives who are trying to deal with a major regret.  I would recommend these stories highly – any of them are perfect for a cold winter’s evening.  The books are The Correspondent by Virginia Evans and What We Can Know by Ian McEwan, and the movie is The Great Escaper (on Amazon). I’ll try to talk about these stories without spoiling the endings – and, in these cases, the endings are true endings.  They are all about elders trying to deal with regrets, mistakes, and profound guilt.  It seems to me that this is a prevalent and profound problem of old age; in old age we have a lot of time to think and a tendency to look back.  If you are exempt from major regrets, you are privileged indeed.  I surely have moments in my past that I regret, that I am still trying to deal with, and which flare up from the embers of my memories.  What to do with them?

Religion or AA might tell us that we need to atone, or, at least, apologize.  But the older we are the more likely it is that the actions are long buried along with many of the participants.  How do we deal with those regrets, guilts?  Make a deathbed confession?  Ask a priest or someone else we trust to absolve us?  Must we realize, finally, that they were the product of where we were at the time and chalk it up to karma – and assume we will pay or have paid for our transgressions one way or another?  I was recently thinking of Dryden’s riff on Horace – “Happy the Man” – but that speaker is “secure within” and satisfied that he has “had his hour.”  What if we regret the hour?  And how do we adjust the scales so everything comes out alright?  As the clerk at the Marigold Hotel reiterates, “Everything will be alright in the end, so if it is not alright, it is not the end.”

Each of these three stories concern an older person who sincerely regrets something in their past.  And, in at least two of the cases, they surely have committed (or given tacit approval to) a grievous act.  The third case is situational, where a soldier does what he has to do, but there are dire consequences.  All of these incidents happened many years ago, but shadow the rest of the lives of these characters. What to do?  What can be done?

Let me tell you how the characters in these stories deal with it.  The protagonist in The Correspondent, Sybil, (unsurprisingly) writes letters, letters she sends and letters she does not send.  Besides having mortality breathing down her back, she is dealing with the imminent loss of her sight.  This is a woman who is deeply attached to the written word in all its forms, and it is the word that keeps her going.  Sybil writes to famous people (like Joan Didion), some of whom even write back.  She writes to her children, old friends, and herself.  She writes to living people and dead people and, in the process, she slowly seems to sort things out.  It will make you mourn the lost art of letter writing; it will make you want to write letters.  Or a journal.  Do it.

Ian McEwan waited until he was in his mid-seventies to write one of his finest books.  Earlier in his life, of course, he wrote the classic Atonement, about guilt and absolution.  In Atonement, a woman spends a lifetime trying, at least partially by writing, to make sense of a youthful mistake.  In What We Can Know, there is an academic mystery being researched in the far future.  Where is the lost poem, the renowned corona of which there was only one copy?  The book sets itself up as a literary mystery, which is resolved by the “last testament” of the poet’s elderly wife – she has produced one piece of writing and destroyed another, in revenge and atonement.  The novel asks questions about the words and deeds we leave behind; the title morphs from What We Can Know to “what can we know?” This story got me thinking (again) about what to do with all my old journals.

(Incidentally, the novel looks backward, but it is framed in a time period a hundred years hence, and we get this caution from our narrator:  “I’d like to shout down through a hole in the ceiling of time and advise the people of a hundred years ago: if you want your secrets kept, whisper them in the ear of your dearest, most trusted friend.  Do not trust the keyboard and screen.  If you do, we’ll know everything.” Fair warning.)

The Great Escaper stars the very old Michael Caine and Glenda Jackson.  Jackson died shortly after the film was made.  Both stars were closing in on ninety when the filming was done, which was only appropriate as the story is about a 90-year-old man.  I have to admit that at first it is very hard to watch those very old bodies – much older than we usually see on the screen – but the film soon sweeps you away with both the love between the two oldsters and the heroic effort that Bernie makes to understand and atone for his actions at the beach at Normandy seventy years before. When I was young, I would not have believed someone could be so tormented by things that they did seven decades ago; now I know better.   And when Bernie gets to the 70th commemoration of the Normandy invasion, he finds that he is not the only one who is abashed to be treated as a hero when he feels like a traitor.  But, back on the beach and at the military cemetery, he faces his demons.  Those demons might not be completely vanquished, but they are at least acknowledged and shared.

These stories do not display miraculous cures for our trespasses; even if our sins are forgiven, we still cannot ever forget them.  Sybil, the letter-writer in The Correspondent, has made a pen pal of Joan Didion, and she quotes her: “What I have made for myself is personal, but it is not exactly peace.”  Stephen Crane put it more crudely: “But I like it/Because it is bitter, /And because it is my heart.”  Our regrets are personal, they are bitter, but when we at least acknowledge them, we might be able to accept them as part of who we are.

I’ll end with one of my favorite poems, “The Ideal,” by Paul Fenton.

This is where I came from.
I passed this way.
This should not be shameful
Or hard to say.

A self is a self.
It is not a screen.
A person should respect
What he has been.

This is my past
Which I shall not discard.
This is the ideal.
This is hard.

For one of my stories about regret, you might try “Shrove Tuesday.“