It's as if the poet herself has sidled beside the reader and pointed us to the poems she considers most worthy of deep consideration." -- Chicago Tribune This review update is based on a selection of poems ‘From Blue Horses (2014)'. The eleven poems in this collection expressed the repose and comfort Oliver found in the natural world and quietly invited the reader to share her gratitude. She truly was a poet after the nature lover’s own heart. Imagine... I have heard the name Tecumseh before but never knew who he was... now, because of a poem, I'm going to go learn some history.

Beginning with a string of similes to describe the threatening and fearsome idea of approaching death, this poem develops into a plea for curiosity in the face of death and what might come next. Eternity, Oliver asserts, is a ‘possibility’, but this is a poem more concerned with living a curious life now, in this one guaranteed life we have.Booklist, July, 1994, Pat Monaghan, review of A Poetry Handbook, p. 1916; November 15, 1994, Donna Seaman, review of White Pine, p. 574; June 1, 1997, Donna Seaman, review of West Wind: Poems and Prose Poems, p. 1648; June 1, 1998, Donna Seaman, review of Rules for the Dance: A Handbook for Writing and Reading Metrical Verse, p. 1708; March 15, 1999, Donna Seaman, review of Winter Hours, p. 1279; September 1, 2000, Donna Seaman, review of The Leaf and the Cloud, p. 58; March 15, 2004, Donna Seaman, review of Long Life: Essays and Other Writings, p. 1259. I'm also going to look for a location called Truro. Apparently it was wild enough, a few decades ago, that people who said they saw a bear were almost believed. Now, it must be in the East somewhere, because in the West bears are relatively common 'pests.' 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. The shortest poem on this list, running to just four short, accessible lines of verse, ‘The Uses of Sorrow’ once again provides us with a concrete image for an abstract emotion: here, sorrow, rather than joy.

Of course, much has been said of Oliver's work—that it is too simple, or too naïve, or that its cadence derives not from metre but from a sense of harmony that many of us have been too dulled to attempt to feel. The critics can relax: Oliver herself did not want to live forever, only to be remembered if at all; as she says in one of the poems included in this collection; as "a bride married to amazement". And that she was. That we all can feel when we go out seeking the world through her words. From where I stand, Devotions is a wonderful place to start. How can we ‘mend’ our lives? By ignoring the ‘bad advice’ the strident voices around us provide, and trusting our instinct, because, deep down, we already know what we have to do. White Owl Flies Into and Out of the Field* is too long & too unified to present here, but know that it makes death a beautiful thing. Not to be chosen, no, but not to fear either.New York Times Book Review, July 17, 1983, pp. 10, 22; November 25, 1990, p. 24; December 13, 1992, p. 12. Also missing is Oliver’s darker work, the poems that don’t allow for consolation. “ Dream Work” (1986), her fifth and possibly her best book, comprises a weird chorus of disembodied voices that might come from nightmares, in poems detailing Oliver’s fear of her father and her memories of the abuse she suffered at his hands. The dramatic tension of that book derives from the push and pull of the sinister and the sublime, the juxtaposition of a poem about suicide with another about starfish. A similar dynamic is at work in “American Primitive,” which often finds the poet out of her comfort zone—in the ruins of a whorehouse, or visiting someone she loves in the hospital. More recently, “The Fourth Sign of the Zodiac” ruminates on a diagnosis of lung cancer she received in 2012. “Do you need a prod? / Do you need a little darkness to get you going?” the poem asks. “Let me be as urgent as a knife, then.” 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 Devotions is a master collection of Mary Oliver’s poetry, collecting bits and pieces from other collections of her work over the course of her career, spanning from 1963 to 2015. This collection brought to mind the very little Wendell Berry and Marilynne Robinson I’ve read in her reverence for nature. This reverence of the natural world is what bound all of these poems into a more cohesive unit. Ordinarily I go to the woods alone, with not a single friend, for they are all smilers and talkers and therefore unsuitable.

Here are excerpts from two poems I love. The first is prose-like and too lovely not to reproduce in full. 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. While society has grown a little wiser to how the technologies can be exploited by foreign governments and boiler rooms spewing misinformation, the costs of allowing our attention to be commandeered remain drastically understated. It was not Mary Oliver’s intent to critique this new world—and it’s hard to imagine she even owned a flip phone—but her poetry captures its spiritual costs.There is a constancy or fidelity in nature elegantly communicated in my favorite poem in this collection: A timely reminder that we can opt to be softer and kinder when our natural bent is to be just the reverse.