“What we must do,
I suppose,
is to hope the world
keeps its balance;
what we are to do, however,
with our hearts
waiting and watching—truly
I do not know.”
— Mary Oliver
Ricky, why are you barking and trying
to rip up the couch? Can’t you settle
down? It’s been a long day.
“It sure has. First you forgot to take
me out. Then you went to the market
and heaven knows where else. And my
dinner was late. And our walk was
short. And now you’re supposed to
be on the floor playing with me but,
no, you’re doing something else. So I
thought I’d give this couch a little
distress.”
Well, don’t. Be a good boy.
“Honestly, what do you expect? Like
you I’m not perfect, I’m only human.”
- Mary Oliver, in “Dog Songs”
He puts his cheek against mine
and makes small, expressive sounds.
And when I’m awake, or awake enough
he turns upside down, his four paws
in the air
and his eyes dark and fervent.
“Tell me you love me,” he says.
“Tell me again.”
Could there be a sweeter arrangement? Over and over
he gets to ask.
I get to tell.
- Mary Oliver, in “Dog Songs”
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| Art by Kelly Rae Roberts |
What did you notice?
The dew-snail;
the low-flying sparrow;
the bat, on the wind, in the dark;
big-chested geese, in the V of sleekest performance;
the soft toad, patient in the hot sand;
the sweet-hungry ants;
the uproar of mice in the empty house;
the tin music of the cricket’s body;
the blouse of the goldenrod.
What did you hear?
The thrush greeting the morning;
the little bluebirds in their hot box;
the salty talk of the wren,
then the deep cup of the hour of silence.
When did you admire?
The oaks, letting down their dark and hairy fruit;
the carrot, rising in its elongated waist;
the onion, sheet after sheet, curved inward to the pale green wand;
at the end of summer the brassy dust, the almost liquid beauty of the flowers;
then the ferns, scrawned black by the frost.
What astonished you?
The swallows making their dip and turn over the water.
What would you like to see again?
My dog: her energy and exuberance, her willingness,
her language beyond all nimbleness of tongue,
her recklessness, her loyalty, her sweetness,
her strong legs, her curled black lip, her snap.
What was most tender?
Queen Anne’s lace, with its parsnip root;
the everlasting in its bonnets of wool;
the kinks and turns of the tupelo’s body;
the tall, blank banks of sand;
the clam, clamped down.
What was most wonderful?
The sea, and its wide shoulders;
the sea and its triangles;
the sea lying back on its long athlete’s spine.
What did you think was happening?
The green breast of the hummingbird;
the eye of the pond;
the wet face of the lily;
the bright, puckered knee of the broken oak;
the red tulip of the fox’s mouth;
the up-swing, the down-pour, the frayed sleeve of the first snow—
so the gods shake us from our sleep.
“I worried a lot. Will the garden grow, will the rivers flow in the right direction, will the earth turn as it was taught, and if not, how shall I correct it?
Was I right, was I wrong, will I be forgiven, can I do better?
Will I ever be able to sing, even the sparrows can do it and I am, well, hopeless.
Is my eyesight fading or am I just imagining it, am I going to get rheumatism, lockjaw, dementia?
Finally I saw that worrying had come to nothing.
And gave it up. And took my old body and went out into the morning, and sang.”
~Mary Oliver, “I Worried,” 2010
Truly, we live with mysteries too marvelous
to be understood.
How grass can be nourishing in the
mouths of the lambs.
How rivers and stones are forever
in allegiance with gravity
while we ourselves dream of rising.
How two hands touch and the bonds will
never be broken.
How people come, from delight or the
scars of damage,
to the comfort of a poem.
Let me keep my distance, always, from those
who think they have the answers.
Let me keep company always with those who say
“Look!” and laugh in astonishment,
and bow their heads.
~Mary Oliver, Evidence
A Poetry Handbook
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