Growing up in Ohio, Oliver said in one of her rare interviews that she ‘ felt those first important connections, those first experiences being made with the natural world rather than with the social world.’ Perhaps for this reason much of her poetry uses the natural world as the lens through which she peers into the human heart and mind. At 17, Oliver would befriend Norma, the sister to poet Edna St. Vincent Millay, and spend most of a decade organizing St. Vincent Millay’s papers while working for her estate. She attended Ohio State University and Vassar College without finishing a degree, but once her first collection of poetry came out her career as a poet was well under way and she would later teach while working as a poet-in residence at several colleges before finishing her career as Chair for Distinguished Teaching at Bennington College. Her collections are also highly decorated, winning the Pulitzer Prize for American Primitive as well as the National Book Award for New and Selected Poems While at the St. Vincent Millay estate she would meet Molly Malone Cook, who would become her life-long partner as well as agent until Molly passed in 2005. Molly had previously owned a bookstore where she employed a young John Waters before he became a celebrated filmmaker and the couple maintained a friendship with him for the remainder of their lives. Though my favorite anecdote is that, while working as Mary’s agent, whenever a call came in for her, Molly would just pretend to be her on the phone and eventually editors just came to accept her as the same as actually speaking to Mary. Newbies not interested in this whole big book might do well to start with Dog Songs. The charm of the subject of dogs & of the poems, and the mutual devotion (yes) between Oliver and her canine companions touches me, despite that I've never had a desire to own a dog. In an extraction of eleven poems from her collection of new poems from 2005, Oliver bade us pay attention to the natural world in every season. As she contemplated her role as a poet, she took inspiration from the ease with which nature eloquently declared its charms.

Devotions by Mary Oliver: 9780399563263 | PenguinRandomHouse

I cannot give these poems any accolades for their craft or uniqueness. They reminded me of the old Swanson TV dinners in foil trays: uniformly prepared and only requiring heating. Nothing is demanded of the reader; it is there for easy consumption and no more. A poet like Kay Ryan, for example, requires a thinking interaction with her readers. Oliver does not. acceptance of one’s darkness, and the will to strive for unflinching compassion above all else. Her Ordinarily I go to the woods alone, with not a single friend, for they are all smilers and talkers and therefore unsuitable. In It Was Early Oliver woke with the dawn to look at the world – the owl under the pines, the mink with his bushy tail, the soft-eared mice, the pines heavy with cones – and was astounded by the many gifts that greeted her, which prompted this thought: Death is something that comes ‘out of the dark’ or ‘out of the water.’ It is grotesque given it has ‘the head the size of a cat but muddy and without ears.’ Yet, right in the middle of seven stanzas we read:

Poetry can describe many a feeling with astounding accuracy, but there is no describing poetry. Instead, I will attach here one of my favourite pieces from this volume, its very own, very best review: To Begin With, The Sweet Grass These poems were inspired by what is often unobserved - Queen Anne’s Lace in an 'unworked field' making ‘all the loveliness it can’ or a swan ‘rising into the silvery air, an armful of white blossoms, a perfect commotion of silk and linen.’ They also steer our thoughts toward beneficent ways of approaching the hosts of things that worry us or claim our lives. Most of all, I love reading about how she went about walking in the woods. I’d like to believe she achieved this and if her poetry is any testament to a life lived, then it was a life well lived. If you haven’t read Mary Oliver before, definitely do so as soon as possible. Even those who don’t usually read poetry tend to love her. Mary Oliver achieved great popularity but also great depth of heart and will live on as one of the greats of our time.

Devotions: The Selected Poems of Mary Oliver - AbeBooks Devotions: The Selected Poems of Mary Oliver - AbeBooks

Oliver’s poems in the opening sections of the book, beginning in her old age, contemplate the meaning of life and the way to find joy within it. The first poem presented in Devotions, from Oliver’s last original collection, Felicity, begins by asking, “Why do people keep asking to see / God’s identity papers / when the darkness opening into morning / is more than enough?” (1-4). As a thesis statement through which to begin the entire collection, it is a powerful one: the natural world, Oliver says, is proof of the divine. For the rest of the book, she presents the lessons she has learned from nature.

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There is a thoughtful poem titled Storage on the joy of uncluttering. Below is a fitting response to ‘things’: Devotions provides a fitting culmination of her life philosophy, her core tenets bound together in one vulnerable place. Ultimately, her work divulges with astute observation the crux of what we are: at once human and animal, at once selfish and full of gratitude, at once perfect and profoundly flawed. The paradoxical balancing act between shameless desire and overwhelming selflessness is deftly traversed through her lush turns of phrase: and entwine the outer world with our inner worlds, where our place among “the family of things” is ascertained only through the intersection of the physical and cerebral realms. Central to her perspective is the interconnectedness of all things, regardless of their tenuous association. The bulk

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In Tides, Oliver’s keen eye surveyed the sea (‘blue gray green lavender’), old whalebones, white fish spines, barnacle-clad stones, and the ‘piled curvatures’ of seaweeds. There is a pleasing, relaxed contrast to the busyness of the sea pulling away, the gulls walking, seaweeds spilling over themselves. Oliver said, I began my time with these poems while in the high hills, in a sunny meadow brimming with daisies and birdsong and surrounded by deodars stretching out to meet the sky—so you see how I felt these verses, completely entangled in the way in which Mary Oliver wrote, her unsophisticated but ecstatic dispensing of hope like a clear and sweet stream set never to run out.

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The subject of these poems included the slippery green frog, stones on the beach, blueberries, a vulture’s wings, and the gorgeous bluebird. Reading the poems is like going on a nature ramble with her and seeing what we often take for granted with new eyes.

Devotions: The Selected Poems of Mary Oliver: Oliver, Mary

A collection of poems to dip in and out of, as the spirit moves. Much of the natural world Oliver describes is unfamiliar to me: it was often difficult to see what she was seeing. But feel what she was feeling? Emphatically yes. Oliver's poems succeed beautifully in conveying what it felt like to see what she saw. Featured in Red Birds (2008) are poems that show her love of animals that share our world. In Night Herons, Oliver observed the herons fishing at night. Only a poet with her sensitivity would have contemplated what it meant for the fish who were ‘full of fish happiness’ one moment and then became the herons’ supper the next. In Invitation, Oliver invited us to linger just to listen to the ‘musical battle’ of the goldfinches because their ‘melodious striving’ revealed the ‘sheer delight and gratitude...of being alive.’ The saddest poem is Red about two gray foxes that were run over by cars and how she carried them to the fields and watched them bleed to death ('Gray fox and gray fox. Red, red, red.')Though her lexis and subjects are deceptively simple, her ideas and overwhelming message are incredibly complex. Such morsels of wisdom may only emerge via scathing self-reflection,