Sunday night I went to see Mary Oliver at the State Theatre. It was a magical evening -- an almost-full house gathered simply to hear an aging, unassuming woman read her spare poetry for an hour. For once, the standing ovation felt completely natural and deserved.
I was also struck, having never heard her speaking voice, how much the voice I've heard in my head as I've read her work matched the one I heard from the stage. She is clearly a writer who has, as they say, "found her voice" and translated it to the page perfectly. She's also one of those writers whose work is so spare, so simple and so direct that you walk away thinking, "I could do that." But, of course, I can't. Making it sound that easy takes fifty years or so.
She confessed that her work is shifting a bit in recent years more toward the human landscape, and that she is more willing to speak directly about situations of injustice and violence in her poetry. She got the most raucous applause for a poem in which she imagines taking her dog to the White House, where Donald Rumsfeld would get down on the floor and play like a boy, "for once, a rational man." But clearly, the natural world is still Oliver's first love, and her attention to it the gift she offers to us all.
Until Thirst was published, few people would have called her a religious poet. Now that she occasionally invokes God or prayer or a biblical scene in a poem, she brings to humankind the same attention and compassion. "Gethsemane" reflects on how the natural world is always "wild awake." But then she shows true compassion for the disciples, and all us humans, so often not attentive to holiness:
Oh the dear bodies, slumped and eye-shut, that could not
keep that vigil, how they must have wept,
so utterly human, knowing this too
must be part of the story.
I am so grateful Oliver is still waking early, wild awake to God's grandeur around us.