Mary Oliver, House of Light (Beacon Press 1990)
When Covid-19 was just a cloud on the northern horizon, I borrowed this book from a street library. Poems by Mary Oliver, I thought, are just the thing for the times ahead: she consistently holds out to her reader reminders of what it means to be alive and human on this planet.
Within days most street libraries had closed down.
So, what was this book that I may have risked lives to acquire?
For a start there’s a lot of death in it. Mary Oliver seems to have spent a lot of time outdoors, watching plants, birds and animals, though ‘watching’ might be too mild a word: the poems bear witness to a deep attention, contemplation, absorption.
The first poem in the collection, ‘Some Questions You Might Ask’, is a kind of manifesto: ‘Is the soul solid, like iron?’ it asks; then, ‘Who has it, and who doesn’t?’ and after considering the moose, the swan, the black bear and other animals, the poem ends:
What about the blue iris? What about all the little stones, sitting alone in the moonlight? What about the roses, and lemons, and their shining leaves? What about the grass?
These lines dance on the edge of naffness. But they manage not to fall: they convey a strong sense of the speaker seeing these things, at least in her mind’s eye, with great clarity, and her pseudo-theological question, ‘Do animals have souls?’ comes to read as code for a joyful embrace of what she sees. That embrace is there in all these poems. Sometimes it has to be fought for, as in ‘Singapore’, which begins with the image of a woman washing something in a toilet bowl at an airport:
Yes, a person wants to stand in a happy place, in a poem. But first we must watch her as she stares down at her labour
You can read that whole poem at this link to see for yourself where she goes from there. I think she pulls it off. (At this link, you’ll find a vehemently opposite view.)
You could think of Mary Oliver as a 20th century (and almost two decades into the 21st) devotional poet. That opening poem about souls certainly reminds me of primary classroom lessons from the nuns, and, for instance, ‘That Summer Day’ opens with a question straight out of the catechism I studied in primary school: ‘Who made the world?’ But there’s a difference. The poem doesn’t answer the question. It leaves it as an expression of awe, leaving hints of a creator God there in a take-it-or-leave-it way. The central lines of this poem are:
I don't know exactly what a prayer is. But I do know how to pay attention, how to fall down into the grass, how to kneel down in the grass
The poem is reaching for a way to express feelings that used to be attached to religious piety, but to free them from religious connotations. I think of Richard Dawkins writing about wonder without resiling even slightly from his militant atheism. Mary Oliver is similarly reclaiming wonder, though the line, ‘I don’t know exactly what a prayer is,’ carefully formulated to allow that she may know about ‘prayer’ as opposed to ‘a prayer’, indicates that she’s not oppositional, just going a different way. That poem ends:
Tell me, what is it you plan to do with your wild and precious life?
It’s an exhortation, not to be virtuous (the first poem of hers I read begins ‘You do not have to be good’), but to notice what it is to be alive.
I want to talk about death, though. Not just because of Covid-19, which I think of as a curtain-raiser for the hugely destructive climate-change crisis, but because it’s an insistent theme of these poems. The nature that they so closely and lovingly observe involves ruthless killing, but the death of the speaker, or death in general, is often evoked. Here is ‘The Terns’ (click on the image to enlarge, or read the poem at this link):
In the first 18 lines, the speaker is doing her usual thing, noticing the life in the wetlands near her home. The lines are filled with a birdwatcher’s delight. Then the lines
This is a poem about death
come as a surprising twist. At first they seem to reach back and highlight the ‘little silver fish’, whose violent death has gone almost unnoticed. But that’s not where the poem goes:
about the heart blanching in its folds of shadows because it knows someday it will be the fish and the wave and no longer itself
I don’t think she’s offering the image of the terns vanishing under the water and then coming back as an almost mediaeval allegory for death and resurrection, though you might read it that way. As I see it, with these lines, the speaker’s mood intrudes into the poem. She’s not happy, and death is on her mind. It’s her heart that she imagines blanching, and she’s the one who knows she’ll be re-absorbed into the natural world, that her consciousness will cease to be.
But then:
this is a poem about loving the world and everything in it
We might have expected ‘This is a poem about living’, but this small surprise carries the weight of the poem. It’s not offering a vision of life after death; the terns’ diving and rising don’t symbolise death and resurrection after all. The notion of being re-absorbed into the natural world can have in it a deep joy – it’s like that Sweet Honey in the Rock song, ‘Breaths‘ (If you don’t know it, click on the link). Re-absorption isn’t about being eaten by worms in the grave, or scattered as ashes, or even planted under a tree. In death, what remains of us will continue to be part of this dynamic universe.
To love ‘the world and everything in it’, including oneself, is a completely appropriate response to such thoughts. It’s a long way from, ‘Yea, though I walk through the valley of the shadow of death, no evil will I fear.’ I just read on Wikipedia that Mary Oliver dealt with a lot of abuse in her childhood. I think that’s what saves her poems from being glibly Life Affirming. There’s always a sense, as in this poem, that the affirmation is not so much made as won in the face of mostly unnamed contrary forces.
Me fail? I fly! 