by Mary Oliver
My work is loving the world.
Here the sunflowers, there the hummingbird—
equal seekers of sweetness.
Here the quickening yeast; there the blue plums.
Here the clam deep in the speckled sand.
Are my boots old? Is my coat torn?
Am I no longer young, and still not half-perfect? Let me
keep my mind on what matters,
which is my work,
which is mostly standing still and learning to be
The phoebe, the delphinium.
The sheep in the pasture, and the pasture.
Which is mostly rejoicing, since all the ingredients are here,
which is gratitude, to be given a mind and a heart
and these body-clothes,
a mouth with which to give shouts of joy
to the moth and the wren, to the sleepy dug-up clam,
telling them all, over and over, how it is
that we live forever.
photo Rose Cook
I have been working on my next collection of poems for some time, but the last few months have been affected by grief and loss, so this beautiful poem by Mary Oliver (in her book Dream Work) really resonated with me.
from The Fourth Sign of the Zodiac by Mary Oliver
I know, you never intended to be in this world.
But you’re in it all the same.
so why not get started immediately.
I mean, belonging to it.
There is so much to admire, to weep over.
And to write music or poems about.
Bless the feet that take you to and fro.
Bless the eyes and the listening ears.
Bless the tongue, the marvel of taste.
You could live a hundred years, it’s happened.
I am speaking from the fortunate platform
of many years,
none of which, I think, I ever wasted.
Do you need a prod?
Do you need a little darkness to get you going?
Let me be urgent as a knife, then,
and remind you of Keats,
so single of purpose and thinking, for a while,
he had a lifetime.
photo Rose Cook
Little Owl Who Lives in the Orchard – Mary Oliver
His beak could open a bottle,
and his eyes – when he lifts their soft lids –
go on reading something
just beyond your shoulder –
or the Book of Revelation.
Never mind that he eats only
the black-smocked crickets,
and the dragonflies if they happen
to be out late over the ponds, and of course
the occasional festal mouse.
Never mind that he is only a memo
from the offices of fear –
it’s not size but surge that tells us
when we’re in touch with something real,
and when I hear him in the orchard
down the little aluminium
ladder of his scream –
when I see his wings open, like two black ferns,
a flurry of palpitations
as cold as sleet
rackets across the marshlands
of my heart
like a wild spring day.
Somewhere in the universe,
in the gallery of important things,
the babyish owl, ruffled and rakish,
sits on its pedestal.
Dear, dark dapple of plush!
A message, reads the label,
from that mysterious conglomerate:
Oblivion and Co.
The hooked head stares
from its house of dark, feathery lace.
It could be a valentine.
Coming down out of the freezing sky
with its depths of light,
like an angel, or a Buddha with wings,
it was beautiful, and accurate,
striking the snow and whatever was there
with a force that left the imprint
of the tips of its wings — five feet apart —
and the grabbing thrust of its feet,
and the indentation of what had been running
through the white valleys of the snow —
and then it rose, gracefully,
and flew back to the frozen marshes
to lurk there, like a little lighthouse,
in the blue shadows —
so I thought:
maybe death isn’t darkness, after all,
but so much light wrapping itself around us —
as soft as feathers —
that we are instantly weary of looking, and looking,
and shut our eyes, not without amazement,
and let ourselves be carried,
as through the translucence of mica,
to the river that is without the least dapple or shadow,
that is nothing but light — scalding, aortal light —
in which we are washed and washed
out of our bones.