Mary Oliver (born September 10, 1935) is an American poet. She has won the National Book Award and the Pulitzer Prize. The New York Times described her as "far and away, this country's best-selling poet."
When it's over, I want to say: all my life I was a bride married to amazement. I was the bridegroom, taking the world into my arms. When it is over, I don't want to wonder if I have made of my life something particular, and real. I don't want to find myself sighing and frightened, or full of argument. I don't want to end up simply having visited this world.
Every spring I hear the thrush singing in the glowing woods he is only passing through. His voice is deep, then he lifts it until it seems to fall from the sky. I am thrilled. I am grateful. Then, by the end of morning, he's gone, nothing but silence out of the tree where he rested for a night. And this I find acceptable. Not enough is a poor life. But too much is, well, too much. Imagine Verdi or Mahler every day, all day. It would exhaust anyone.
I do not live happily or comfortably With the cleverness of our times. The talk is all about computers, The news is all about bombs and blood. This morning, in the fresh field, I came upon a hidden nest. It held four warm, speckled eggs. I touched them. Then went away softly, Having felt something more wonderful Than all the electricity of New York City.
I have a little dog who likes to nap with me. He climbs on my body and puts his face in my neck. He is sweeter than soap. He is more wonderful than a diamond necklace, which can't even bark.
So this is how you swim inward. So this is how you flow outwards. So this is how you pray.
I know death is the fascinating snake under the leaves, sliding and sliding; I know the heart loves him too, can't turn away, can't break the spell. Everything wants to enter the slow thickness, aches to be peaceful finally and at any cost. Wants to be stone.
If you suddenly and unexpectedly feel joy, don't hesitate. Give in to it. There are plenty of lives and whole towns destroyed or about to be. We are not wise, and not very often kind. And much can never be redeemed. Still life has some possibility left. Perhaps this is its way of fighting back, that sometimes something happened better than all the riches or power in the world. It could be anything, but very likely you notice it in the instant when love begins. Anyway, that's often the case. Anyway, whatever it is, don't be afraid of its plenty. Joy is not made to be a crumb.
In my own work, I usually revise through forty or fifty drafts of a poem before I begin to feel content with it.
Ten times a day something happens to me like this - some strengthening throb of amazement - some good sweet empathic ping and swell. This is the first, the wildest and the wisest thing I know: that the soul exists and is built entirely out of attentiveness.
I stood willingly and gladly in the characters of everything - other people, trees, clouds. And this is what I learned, that the world's otherness is antidote to confusion - that standing within this otherness - the beauty and the mystery of the world, out in the fields or deep inside books - can re-dignify the worst-stung heart.
Almost anything is too much. I am trying in my poems to have the reader be the experiencer. I do not want to be there. It is not even a walk we take together.
There is a notion that creative people are absent-minded, reckless, heedless of social customs and obligations. It is, hopefully, true for they are in another world altogether.
But the owls themselves are not hard to find, silent and on the wing, with their ear tufts flat against their heads as they fly and their huge wings alternately gliding and flapping as they maneuver through the trees. Athena's owl of wisdom and Merlin's companion, Archimedes, were screech owls surely, not this bird with the glassy gaze, restless on the bough, nothing but blood on its mind.
When When it’s over, it’s over, and we don’t know any of us, what happens then. So I try not to miss anything. I think, in my whole life, I have never missed The full moon or the slipper of its coming back. Or, a kiss. Well, yes, especially a kiss.
Also I wanted to be able to love And we all know how that one goes, don't we? Slowly
I believe art is utterly important. It is one of the things that could save us. We don't have to rely totally on experience if we can do things in our imagination. . . . It's the only way in which you can live more lives than your own. You can escape your own time, your own sensibility, your own narrowness of vision.
A dog can never tell you what she knows from the smells of the world, but you know, watching her, that you know almost nothing.
You may not agree, you may not care, but if you are holding this book you should know that of all the sights I love in this world — and there are plenty — very near the top of the list is this one: dogs without leashes.
Along with the differences that abide in each of us, there is also in each of us a maverick, the darling stubborn one who won't listen, who insists, who chooses preference or the spirited guess over yardsticks or even history. I suspect this maverick is somewhat what the soul is, or at least that the soul lives close by and companionably with its agitating and inquiring force.
GOING TO WALDEN It isn't very far as highways lie. I might be back by nightfall, having seen The rough pines, and the stones, and the clear water. Friends argue that I might be wiser for it. They do not hear that far-off Yankee whisper: How dull we grow from hurrying here and there! Many have gone, and think me half a fool To miss a day away in the cool country. Maybe. But in a book I read and cherish, Going to Walden is not so easy a thing As a green visit. It is the slow and difficult Trick of living, and finding it where you are.