Dream Work

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It is a serious thing // just to be alive / on this fresh morning / in this broken world. Is poet Mary Oliver still alive? a b c "Maria Shriver Interviews the Famously Private Poet Mary Oliver". Oprah.com . Retrieved November 30, 2018. Garner, Dwight. (February 18, 2007.) " Inside the List". New York Times. Retrieved September 7, 2010. An “astonishing” book of poetry from the Pulitzer Prize–winning author of American Primitive and “one of our very best poets” (Stephen Dobyns, The New York Times Book Review) .

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Mary Jane Oliver (September 10, 1935 – January 17, 2019) was an American poet who won the National Book Award and the Pulitzer Prize. Her work is inspired by nature, rather than the human world, stemming from her lifelong passion for solitary walks in the wild. It is characterized by a sincere wonderment at the impact of natural imagery, conveyed in unadorned language. In 2007, she was declared to be the country's best-selling poet. Wild Geese,” one of Oliver’s most famous and most widely quoted poems, comes directly after “Rage” in Dream Work. “Tell me about despair, yours and I’ll tell you about mine.” she writes. When Oliver says despair, I feel it deep down.

Poetry

I believe in kindness. Also in mischief. Also in singing, especially when singing is not necessarily prescribed. She won the Christopher Award and the L. L. Winship/PEN New England Award for her piece House of Light (1990), and New and Selected Poems (1992) won the National Book Award. [1] [9] Oliver's work turns towards nature for its inspiration and describes the sense of wonder it instilled in her. "When it's over," she says, "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 Death Comes" from New and Selected Poems (1992)) Her collections Winter Hours: Prose, Prose Poems, and Poems (1999), Why I Wake Early (2004), and New and Selected Poems, Volume 2 (2004) build the themes. The first and second parts of Leaf and the Cloud are featured in The Best American Poetry 1999 and 2000, [10] and her essays appear in Best American Essays 1996, 1998, and 2001. [6] Oliver was the editor of the 2009 edition of Best American Essays. Poetic identity [ edit ]

Mary Oliver - Pulitzer Prize and National Book Award Winning Mary Oliver - Pulitzer Prize and National Book Award Winning

McNew, Janet. "Mary Oliver and the Tradition of Romantic Nature Poetry". Contemporary Literature, 30:1 (Spring 1989). You must not ever stop being whimsical. And you must not, ever, give anyone else the responsibility for your life.” Neary, Lynn (January 17, 2019). "Beloved Poet Mary Oliver Who Believed Poetry Mustn't Be Fancy Dies at 83". NPR . Retrieved January 20, 2019. A prolific writer of both poetry and prose, Oliver routinely published a new book every year or two. Her main themes continue to be the intersection between the human and the natural world, as well as the limits of human consciousness and language in articulating such a meeting. Jeanette McNew in Contemporary Literature described “Oliver’s visionary goal,” as “constructing a subjectivity that does not depend on separation from a world of objects. Instead, she respectfully conferred subjecthood on nature, thereby modeling a kind of identity that does not depend on opposition for definition. … At its most intense, her poetry aims to peer beneath the constructions of culture and reason that burden us with an alienated consciousness to celebrate the primitive, mystical visions that reveal ‘a mossy darkness – / a dream that would never breathe air / and was hinged to your wildest joy / like a shadow.’” Her last books included A Thousand Mornings (2012), Dog Songs (2013), Blue Horses (2014), Felicity (2015), Upstream: Selected Essays (2016), and Devotions: The Selected Poems of Mary Oliver (2017). Due to Mary Oliver’s lyrical, private, and sensitive poems, many of which utilize nature as a lens to explore the range of human emotions, from love and joy to grief and despair, Mary Oliver has become a favorite among poetry lovers of all ages. The finest Mary Oliver poems advise us to stop and take a breath, to savor the moment, and to never take anything for granted.Oliver seems able in her poems to step through her pain into wonder. Over and over, her poems show that, as Rumi, always an inspiration to her, put it, “the wound is where the light enters.” Oliver’s poems remind me that we are bigger and more connected than we might at first think, and that poetry can be a path and doorway to remembering our wholeness, to coming out of silence into a larger world, outside of our scars, full of wonder. As Oliver writes in “Praying”: “this isn’t/ a contest but a doorway/ into thanks, and a silence in which/ another voice may speak.”

The Journey - Oprah Winfrey The Journey - Oprah Winfrey

Rules for the Dance: A Handbook for Writing and Reading Metrical Verse, Houghton Mifflin (Boston, MA), 1998. Another of Oliver’s most famous poems, “A Dream of Trees,” was published in her first poetry collection No Voyage, and Other Poems (1963). In this poem, the speaker shares one of her dreams, which is none other than of trees. A dream, where she finds solace, cannot be traced to reality. The causes are explicit; rapid urbanization, deforestation, burgeoning consumerism, and death are among the significant reasons. The poet concludes with a sigh, a b c d e f g h i j k Mary Oliver's bio at publisher Beacon Press (note that original link is dead; see version archived at https://web.archive.org/web/20090508075809/http://www.beacon.org/contributorinfo.cfm?ContribID=1299; retrieved October 19, 2015). In 2007 The New York Times described her as "far and away, this country's best-selling poet." [14] Personal life [ edit ]Dream Work (1986) continues Oliver’s search to “understand both the wonder and pain of nature” according to Prado in a later review for the Los Angeles Times Book Review. Ostriker considered Oliver “among the few American poets who can describe and transmit ecstasy, while retaining a practical awareness of the world as one of predators and prey.” For Ostriker, Dream Work is ultimately a volume in which Oliver moves “from the natural world and its desires, the ‘heaven of appetite’ ... into the world of historical and personal suffering. ... She confronts as well, steadily,” Ostriker continued, “what she cannot change.” Oliver published her first collection, No Voyage and Other Poems (1963) at the age of 28. After that, she went on to publish several collections concluding with Devotions(2017) published two years before her death. Her American Primitive (1983) won the Pulitzer Prize for Poetry. Oliver was also the recipient of the Shelley Memorial Award, PEN New England Award, and National Book Award for Poetry. Mary Oliver, who died recently at 83, lit the way forward for me when I doubted that I could ever move past suffering into survival, let alone beauty and joy. Bond, Diane. "The Language of Nature in the Poetry of Mary Oliver." Womens Studies 21:1 (1992), p.1. Poetry, May, 1987, p. 113; September, 1991, p. 342; July, 1993, David Barber, review of New and Selected Poems, p. 233; August, 1995, Richard Tillinghast, review of White Pine, p. 289; August, 1999, Christian Wiman, review of Rules for the Dance, p. 286.

Mary Oliver | Poetry Foundation

In 2011, in an interview with Maria Shriver, Oliver described her family as dysfunctional, adding that though her childhood was very hard, writing helped her create her own world. [3] Oliver revealed in the interview with Shriver that she had been sexually abused as a child and had experienced recurring nightmares. [3] Mary Oliver was born to Edward William and Helen M. (Vlasak) Oliver on September 10, 1935, in Maple Heights, Ohio, a semi-rural suburb of Cleveland. [1] Her father was a social studies teacher and an athletics coach in the Cleveland public schools. As a child, she spent a great deal of time outside where she enjoyed going on walks or reading. In an interview with the Christian Science Monitor in 1992, Oliver commented on growing up in Ohio, sayingI also can’t help wonder whether Oliver’s own difficult path, too, like that of Plath and Sexton, might have been different if she had had more language and more supports for her difficult experiences. Might part of the disdain that some of the male literary community had towards Oliver have come from her explicit naming of her sexual trauma (a very sucessful older poet once told me that she’d been explicitly told in her MFA program that if she wrote poems about her sexual trauma history, she’d never get published and to this day, she has never published poems about that topic). Might there be a a way in which we put appropriate language to our traumas and also move on, in which we are neither subsumed by our traumas nor need to evade them because they are too painful? Mary Oliver’s life is an example, and a lifeline, that will continue to show us that there just might be.