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Picking Blueberries, Austerlitz, New York, 1957
In doing her work, Mary Oliver creates an integrated
spirituality of the ordinary. The nature, spirit
and imagination found in Oliver's poetry are very
natural and relating to her day-to-day emotional
and spiritual experiences. What Oliver does in
writing is to make the reader visualize and feel
the idiosyncratic beauty of things offered to
us by chance. The main focus is on driving pleasure
and retaining for lifetime the unusual and remarkable
occurrences of our life. She takes a detail and
infuses it with greater meaning, makes us inhabit
the moment. She takes a great thing and draws
it toward the human heart so that the great and
the small, the I and the not-I interpenetrate,
and confer meaning upon each other, and grant
that the space between us is made sacred by the
presence of both.
Mary Oliver, located as she is in the natural
world, writes again and again of lives transistorizes,
and calls us nonetheless to be present in it for
the moment, the sacred, brief time we have in
life. She writes about how once in summer she
fell asleep after picking blueberries, and a deer
stumbled against her:
…I guess
she was so busy with her own happiness
she had grown careless
and was just wandering along
listening
to the wind as she leaned down
to lip up the sweetness.
So, there we were
with nothing between us
but a few leaves, and the wind's
glossy voice
Shouting instructions. 1
In the above phrases it is so apparent that Mary
Oliver, on seeing the deer so near her, lost in
her own world and obviously very happy and content,
desires for that carefree way of life filled with
absolute happiness. Childhood is a period in a
person's life where worries of the world are far
away from us and do not touch us in any way. But,
paradoxically, a person when in the childhood
phase is not capable of understanding the true
bliss of life. It is only in the later years that
we realize the happiness of childhood and therefore
love to cherish the memories of that period of
our lives. The above phrases mention the incident
that when the Deer stumbled across the poet she
was invariably drawn to that particular period
(childhood) of her life.
but the moment before she did that
was so wide and so deep
it has lasted to this day;
I have only to think of her ---
the flower of her amazement
and the stalled breath of her curiosity,
and even the damp touch of her solicitude
before she took flight ---
to be absent again from this world
and alive, again, in another,
for thirty years
sleepy and amazed, 2
In the above phrases the poet could either be
talking to the deer, or to herself. This poem
can be used to describe a moment filled up with
a timing all its own. And it was a grace so real
and unexpected that, because of it, the poet's
life was never being the same again. The poet
could not have chosen the experience described
in the poem even if she had tried. She could only
receive it.
Writing in The Poet's Notebook, Stephen Dunn says:
"The trouble with most nature poetry is that
it doesn't sufficiently acknowledge nature's ugliness
and perversity." In other words, we often
fail to pay attention. And attention is the luminous
gift of Mary Oliver's writing, poems with clarity
of detail, memorable music, and deft linkage of
human insight to the carefully observed world,
which she praises and loves with wide open heart
and eyes." 3
Picking Blueberries is an unlikely poem of hers
that actually comes quite close to describing
an unexpected encounter with grace. She is talking
about a moment--a sacred moment. The exact circumstances
of her poem speak about the mystery of Tran figurative
experiences; experiences not limited by our own
narrow notions of where they might occur.
Endnotes
1. Austerlitz. Picking Blueberries. New York,
1957. [Both from Poems Selected and New, Boston,
1992]
2. Austerlitz. Picking Blueberries. New York,
1957. [Both from Poems Selected and New, Boston,
1992]
3. Lohmann, J. Mary Oliver, Earth Saint 1997-8,
p 16. Retrieved from the World Wide Web:
http://www.earthlight.org/earthsaint28.html
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