Posts Tagged ‘mary oliver’
I am a series of
stories and stories and stories
I tell myself and others
secret truths and whole-hearted lies
until they are more me
than the skin I wear. Some
stories are collectively lost, looking
for a home. Some stories leap
with fists locked tight enough
to fuck, some stories weep
and unravel the fabric of my
baby blankets. I am desperate
for meaning. Something bigger
than my wild and precious, stupid
little life. Some context for my
bleeding throbbing heart and cunt
and dick. Some balm for
this ache of mortality, of perfect
imperfection. Take me on as your
protege, graveyard; take me on as your
benefactor, temple. I seek to build
monuments to and out of love. I seek
to make meaning. I seek to make
movements. I seek to sit still, to smile,
to blink, to put pen to paper, to tell all.
Shh, listen. My story has gone out
Cheryl’s memorial was yesterday. More than two hundred people attended, brought food, and comforted each other, and fifteen people read some of their own thoughts and some of Cheryl’s work.
I hosted the event. It was the hardest reading I’ve ever done. I felt like I called on more of my tantra and energy/space holding abilities more than I used my reading host skills, though both of course were present. In putting together the line-up, I thought a lot about how much Cheryl has taught me about hosting readings, stage presence, how to order it, how to keep it moving, what to say and how to banter between readers. I learned so much in such a short time, she really knew what she was doing.
I had a pretty strict script so as not to babble, which, if you’ve ever seen me host a reading, you know I can tend to do. So here’s the part that I read.
Hello everyone. Thank you for being here at Dixon Place to celebrate Cheryl B.
We’re all here because we knew Cheryl, because she touched us in some way. Some of Cheryl’s accomplishments are listed in the chapbook/program, but we all know that she was widely anthologized, created three reading series in New York City in the last ten years, and performed all over the US, UK and Canada.
I’ve known Cheryl since I moved to New York in 2005. She was one of the first people I met in the literary performance circles. We kept being booked for the same readings, and eventually became friendly, then friends. She read at my chapbook release party in 2007, we started working together in 2009, and then started a reading series, Sideshow: the Queer Literary Carnival, together in 2010. I was there throughout her diagnosis of Hodgkin’s lymphoma last November, through the chemo treatment, which I even accompanied her to (once), and through her hospitalization.
What has struck me consistently in thinking about which story to tell about Cheryl here has been the transformation which happened after she was diagnosed. Cheryl had a dark, cynical sense of humor, and was private, often feeling alienated. But when she truly needed help from her friends and her larger community, you all—we—surprised her by offering up our support, our pies, our cars for rides, our wallets for Fresh Direct gift cards, our time, and our prayers.
I saw how much it meant to her that everyone rallied, throwing spelling bee fundraisers, offering research, and sending emails of support. Cheryl opened up and took in that love in a way that I’d never seen her do before.
Kelli told me that at the end, when she and Cheryl were doing some woo-woo aspirations that clearly were Kelli’s idea, Cheryl chose to say “I am thankful for my community,” and she didn’t even roll her eyes.
More than anything else, I’m so glad this event is an opportunity to get all of us together, all of us who loved and cared for Cheryl, and who love and care for Kelli, to look around the room and acknowledge what a community ourpouring of love looks like.
Tonight, you’ll hear some of her work read by some artists, writers, and friends, from Cheryl’s brother, and a few videos of Cheryl herself.
– Readers –
Thank you to all the readers for coming and being here today.
I’d like to conclude by reading one of my favorite poems, which has been a comfort to me lately. You’ll notice it’s not in Cheryl’s style, but I’d like to offer it up as a prayer, in whatever way that means to you.
The Summer Day by Mary Oliver
Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean-
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down-
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don’t know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn’t everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?
Thank you all for being here. Thank you Dixon Place, thank you to the volunteers who helped us set up and will help us clean up, thank you United Stages and Kathleen Warnock for the beautiful program/chapbooks. Thanks to Genne and Bevin for helping to coordinate this event, thank you Kelli for your beautiful heart and friendship, to all of us.
There is a new writer’s fund set up in Cheryl’s name through the Astraea Foundation; you can donate on your way out. When there are more events to raise funds for the Cheryl B. Fund, you can find out about them on wtfcancerdiaries.com.
You are also welcome to take a book from Cheryl’s collection, we have a donation hat next to it if you’d like to contribute.
And please remember to support each other, tonight and ongoing.
Thank you for being here.
I’m still working on more essays and ideas and thoughts in response to the recent gay suicides. My weekly column on SexIs Magazine, Mr. Sexsmith’s Other Girlfriend, features What You Can Do To Support Queer Youth today, which has some of my thoughts.
And did you hear that there was a gay bashing inside of Stonewall in New York City this past weekend? No seriously, Stonewall, like the gayest bar in this city? It’s practically laughable. I mean I’m sure it wasn’t laughable for the people who were bashed, but really? What? That almost seems desperate, to me. Like someone attempting to cling to power.
So. Since I don’t have the piece written that I want to write yet, I want to share this poem that has been in my head lately. I used it in my writing workshop at Butch Voices in Portland with the homework instruction to write ‘a story to break your heart,’ if you are willing. (It is most effective when read aloud, even just to yourself, I think.)
Here is a story
to break your heart.
Are you willing?
the loons came to our harbor
and died, one by one,
of nothing we could see.
A friend told me
of one on the shore
that lifted its head and opened
the elegant beak and cried out
in the long, sweet savoring of its life
which, if you have heard it,
you know is a sacred thing,
and for which, if you have not heard it,
you had better hurry to where
they still sing.
And, believe me, tell no one
just where that is.
The next morning
this loon, speckled
and iridescent and with a plan
to fly home
to some hidden lake,
was dead on the shore.
I tell you this
to break your heart,
by which I mean only
that it break open and never close again
to the rest of the world.
Reprinted from New and Selected Poems, Volume Two by Mary Oliver
“I wish I could show you when you are lonely or in darkness the astonishing light of your own being.” —Hafiz
I haven’t found an official psychological definition of the Outsider Complex, but I think it does exist in those circles. Maybe the phrase seems common sense enough that nobody feels the need to define it somewhere. You can tell what I mean by it already, right? The occasionally overwhelming obsession of being an outsider, which sometimes means either putting oneself in a position of being an outsider (be that consciously or unconsciously) and often lamenting “not fitting in” or not being part of the status quo.
Well, let me tell you something: the status is not quo. It seems like just about every marginalized group has their own sense of the Outsider Complex, but I think queers are susceptible to it in our own ways. Especially genderqueer queers. Especially kinky genderqueer queers. Especially kinky genderqueer queers who grew up in a place that insisted, over and over and over, that fitting in, climbing the social or corporate ladder, following along on the assembly line, is the only way to live one’s life.
And as usual, I believe that if we can name something, define it, study it’s parameters, that when it comes up in our own lives, it will feel easier to deal with, because we have some sort of Big Emotional Reaction and we can point our finger and say, “Outsider complex,” take a breath, and have some sort of context for what’s happening. I believe that making the process conscious will improve it.
I’ve been talking about the Outsider Complex a lot lately. Everybody’s got their own version of it, I think—even most straight white Christian republican cis guys, I would argue, still get their own healthy dose of it, perhaps it’s just an inevitable side-product of this individualist culture. But it’s been coming up for me because Kristen’s version of it and my version are very different. And sometimes, that has created some tension between us, because I just didn’t get where she was coming from.
See, I grew up in Southeast Alaska. If you’ve been following along with my column Mr. Sexsmith’s Other Girlfriend, you know all about it; I’ve been writing about my relationships with places a lot over there. Not only did I grow up very much outside of suburbia, American cities, and even American farmland, I also grew up with hippie parents who don’t buy much into pop culture, I grew up vegetarian, I grew up with a lot of pagan influences. Combine that with my particularly unique name, and just those factors alone gave me a sense that I was different from the time I was little. But instead of feeling like that was a problem, I saw it as a badge of uniqueness. I like being different. I like being outside of mainstream culture.
So yeah, I do have an outsider complex, but it acts a bit differently than other people’s—in particular, than Kristen’s—and different than what I observe in the queer communities as a whole. Generally, I think the outside complex works more as a badge of shame, thinking ourselves inferior because we don’t fit it.
For many of us, hitting puberty and discovering that there’s something “different” about ourselves, even if we don’t quite pinpoint our gayness or butchness or transness until later, was the turning point, the place of no return, before which we were “one of the gang” and just going along like all the “normal” kids, and perhaps we have this deep-set feeling that if we could just get back to that, everything would be alright.
Perhaps that too is partially a loss of innocence process, where we learn something new and we can’t ever go back to when we didn’t know it, even if we wish we could.
Some of this Outsider Complex can also be growing up queer without any sort of queer influence. No older queers, no peers, no mentors, nobody who even said words like lesbian or gay or queer or kinky or butch or femme or trans or whatever. I think that’s changing, more and more, what with that little revolutional technological thing called the Internet, and with the advances in the gay rights and gender movements in the recent years, so perhaps kids today (oh my god did I just say that? I’m old) are growing up with much less of a sense of the Outsider Complex, just by their very different exposure to queer culture.
I continue to see this manifested, though, in so many ways with queers who are adults now, who have been out for a decade or more, who do take part in some sort of queer community: there’s still this sense of isolation, of being different than, of being not fully accepted or not fully understood for who you are or what you love.
I even think it is sometimes used by us in martyr-type ways: oh look how much of an outsider I am, oh look how different I am than everyone else, you couldn’t possibly understand me, woe is me woe is me. In the worst case scenario, perhaps.
It’s something personally I haven’t quite struggled with. And I don’t say that with any sort of hierarchy or judgment attached to it, one is not better than the other, it is just the way it is. Certainly I have my own complexes and issues, regardless of whether I have this one.
So to witness it in others is curious. What’s going on there? I want to ask. And when I see it in others, it breaks my heart a little. How would I ever explain how deeply you do belong? How common it is, to feel this way? How many thousands and thousands of other queers and kinksters and butches and femmes and whatevers just like you there are out there?
Maybe it’s because I spent years reading Wild Geese every single day, memorizing it, reminding myself, “Whoever you are, no matter how lonely, / the world offers itself to your imagination, / calls to you like the wild geese, harsh and exciting – / over and over announcing your place / in the family of things.” Maybe it’s because I was never indoctrinated into Christianity and have never believed in hating myself. Maybe I’m just really lucky, I don’t know.
So tell me, readers, Redhead Army Sugarbutch Fans, queers of all spots and stripes: Does this make sense? Do you witness this outsider complex in queer worlds? Is this something that you experience? How? Have you been able to address it and get past it? Or is it something you struggle with ongoing?
The Uses of Sorrow
(In my sleep I dreamed this poem)
Someone I loved once gave me a
box full of darkness.
It took me years to understand
that this, too, was a gift.
So hey, why else do I have a blog but to write impromptu non-fiction personal essays about gender and feminist theory?
1. The Value of Domestic Skills
I believe there’s nothing inherently unfeminist about keeping a home, doing domestic things, taking care of people you love, cooking, cleaning, decorating. Those are important, learned skills and talents, often very complicated arts, time consuming, and things which make a big difference in the quality of life.
There’s been quite a bit of reclamation around “women’s work” throughout the second wave and third wave feminist movements, which has revisioned and revalued the work that goes into domesticity as complex, learned skills, difficult, and often incredible works of art.
(See, for example, the art of Judy Chicago, in particular – The Dinner Party in particular, but there’s lots more in that vein. Also see the book Manifesta by Jennifer Baumgartner & Amy Richards. Anyone else have examples? Leave ‘em in the comments.)
Domesticity & housewifery can go against feminist principles when it is compulsory: not optional, expected, unrewarded, and unrecognized as hard work or valuable. The problems come in being forced into this role, when you’re only doing that if what you’re doing feels like what you’re “supposed” to do and not what you really want to do. Figuring out what actually suits you best, your particular talents and personality and inclinations – that is subversive, and empowering.
2. Choice Feminism
Recently, there’s been a rise of this idea of choice feminism, which claims that being a housewife or househusband, staying home to raise the kids and keep the house, is an option available to people if they so choose, and that there is nothing inherently wrong with this choice.
Makes sense, right? Some people – men or women or butches or femmes or genderqueers or whomever – think it would be great to have the luxury of having a partnership (or triad, or whatever) where enough income was being generated by another person (or another source) that someone could stay home and prepare good food and take care of their living space, take care of the kids or plants or animals. To others, this sounds like nothing they’d want to do themselves, they’d hate to be cooped up all day and would much rather go out into the world and socialize, feel like a ‘productive member of society.’
So in theory, it would be great if someone was able to say, hey, I’d really like to be at home, and their partner would say, that’s great, because I’d like to go to work and make enough money to support our family. And then the negotiation of details would happen, and wow, everyone has a great time with their lives, yay.
There are so many factors that go into building this as an option to begin with. For one, it takes a certain amount of education (and therefore access to education), economic capability, and stature in order to be in a relationship that can rely on a single income (and/or a lot of thriftiness!). The folks who have the ability to stay home and take care of their domestic life have to have a certain amount of economic privilege, by definition – they are able to survive without having a traditional, typical 40 hour a week job.
Point being, this isn’t an option everyone has, so it can’t be a “choice” for everyone. Some people cannot ever choose this choice, because of the ways we have been set up inside of economic systems. (If I had more time to research, I would include : all sorts of things on credit card theory, loan sharks, economic poverty, the working poor. Got specific resources for this? Links, books, documentaries? Leave ‘em in the comments.)
I bet someone staying home and claiming the housewife/househusband/etc role works really well in some relationships, and that those choices are totally legit and based in love and care and self-knowledge for the relationship, family, themselves, and their partners.
Problem is, there are still real social consequences to choosing the socially unacceptable, rarer, less compulsory choice. And it isn’t until both options are empowered with equal weight that we’ll be able to actually make these choices fully, and as long as society still deems one choice over the other, presenting it as an “option” sometimes feel so me as more one more way to force people into it compulsorily.
I think it is possible for these particular choices to have equal weight. Both should be equally valued, in my opinion, and it is possible for them to be in the current culture.
Whether or not they do actually have equal weight, however, would largely depend on a person’s perspective, family, culture, friends, and social status. Some people would experience rejection, marginalization, othering, belittling, or outcasting, if they decided to stay at home and “only” take care of their family’s domestic life. Others would experience peer pressure and gender policing for not doing so, for attempting to say that housewifery is valuable, especially when saying this to someone for whom housewifery was compulsory, and whom resents the lack of choice that she herself had.
A) Mona Lisa Smile
The film Mona Lisa Smile, set in the 1950’s at a women’s college, has a major theme of choice feminism throughout, as Joan, a student, struggles between pursuing law at Yale or getting married and starting a family. Her art teacher, Katherine, tries to encourage her to examine both options equally, even saying she doesn’t have to choose, she can have both.
Quote from the scene where Joan tells her art teacher that she’s going to choose to be a housewife:
Joan Brandwyn: It was my choice… not to go. He would have supported it [if I'd chosen to go].
Katherine Watson: But you don’t have to choose.
Joan Brandwyn: No, I have to. I want a home; I want a family, that’s not something I’ll sacrifice.
Katherine Watson: No-one’s asking you to sacrifice that, Joan, I just want you to understand you can do both.
Joan Brandwyn: Do you think I’ll wake up one morning and regret not being a lawyer?
Katherine Watson: Yes, I’m afraid that you will.
Joan Brandwyn: Not as much as I regret not having a family, not being there to raise them. I know exactly what I’m doing and it doesn’t make me any less smart.
[Katherine looks down]
Joan Brandwyn: This must seem terrible to you.
Katherine Watson: I didn’t say that.
Joan Brandwyn: Sure you did. You always do. You stand in class and tell us to look beyond the image, but you don’t. To you a housewife is someone who sold her soul for a center hall colonial. She has no depth, no intellect, no interests. You’re the one who said I could do anything I wanted. This is what I want.
Katherine Watson: [hugs Joan] Congratulations. Be happy.
It seems Joan is attempting to make the major point of choice feminism, that Katherine does not think housewifery is a legitimate choice for women. But I’m skeptical of this, because we don’t ever see Joan go through an awakening out of the compulsory gender role, realizing and fully understanding the limitations of her socially prescribed feminine/wife/mother role. Without really knowing that, is it possible for her to consider rejecting it as a legitimate option?
B) Sex and the City, season 4 episode 7, Time and Punishment
In the episode Time and Punishment from the fourth season of Sex and the City, Charlotte is newly married, and informs the girls that she’s thinking about quitting her job so she can begin her domestic duties. They react with significant glances at each other, though nobody says anything overly disagreeing with Charlotte’s news. The next day, Charlotte calls Miranda.
Charlotte: You were so judgmental at the coffee shop yesterday.
Miranda: Excuse me?
Charlotte: You think I’m one of those women.
Miranda: What? One of what women?
Charlotte: One of those women we hate who just works until she gets married. … The women’s movement is supposed to be about choice. And if I choose to quit my job, that is my choice.
Miranda: “The women’s movement”? Jesus Christ, I haven’t even had coffee yet.
Charlotte: It’s my life and my choice.
Miranda: Okay, Charlotte? This isn’t about me, this is your stuff.
Charlotte: Admit it! You were being very judgmental.
Miranda: I’m dripping all over my bathroom and you’re calling me judgmental. lf you have a problem with quitting your job…maybe you should take it up with your husband.
Charlotte: See, there it is, “your husband.” There’s nothing wrong with having a husband!
Miranda: Charlotte, I’m hanging up.
Charlotte: Don’t you dare hang up! And stop saying Charlotte like that. I am quitting my job to make my life better… and do something worthwhile like have a baby and cure AIDS.
Miranda: Oh! You’re gonna cure AlDS? Good for you. Just don’t be too disappointed if all you wind up with is a pretty ceramic mug with Trey’s name on it.
Charlotte: Take that back!
Miranda: I’m hanging up.
Charlotte: Don’t hang up! I’m interviewing girls to replace me… and I really need you to get behind my choice.
Miranda: You get behind your choice.
Charlotte: I am behind my choice. I choose my choice.
Miranda: I don’t have time for this. I have to go to work. Some of us still have to go to work.
Charlotte: I choose my choice!
(quoted from script of Time & Punishment.)
Problem for me here is that Charlotte is “the traditional one.” The most conservative, the one who blushes at the slightest of sex talk, the one who, throughout the series, is in serious husband-hunting mode. Has she really examined all her choices? Is she buying into the gender role that she’s presenting because she “chooses” it, or because it is compulsory for her?
But even though I am skeptical and questioning these women’s ability to make their own choices, I do come from the perspective that everyone has their own agency. I try – very hard – to let go of my own judgment about what would or wouldn’t be a good choice, and to really believe that another person is the only one who will really know what is in her own best interest.
But while I believe in agency, I also believe in things like laws of self-protection – seat belt laws, helmet laws, fast food regulation laws – because society has proved that people are susceptible, that we do not always make the choice that is in our best interest because of social, political, advertising, or any other number of pressures, and that educators, policy makers, and activists have the responsibility to protect and look out for others. That we are all interdependent, if you will – and that when everyone does better, everyone does better.
So how do we figure out how to have more agency in these complex situations of choice? How do we assure that all options do have equal weight for ourselves, in our own personal lives, even if they do not have equal weight in the eyes of society? How do we take a decision that used to be compulsory – like being a stay at home mom (SAHM, or Shit Ass Ho Motherfucker, if you’re a dooce reader) or, to connect it further to the Sugarbutch Chronicles subjects, adopting an exaggerated presentation of gender like butch or femme – and legitimately choose it?
3. Knowledge & Education
How can we make these choices have more equal weight?
Educate yourself. Study feminism. Study the history of compulsory gender roles, compulsory gender presentation, compulsory heterosexuality.
We can’t make any of these choices without understanding of where they came from, what they mean, what cultural, historical, and political contexts the choices sit within.
In a society that still has so much compulsory roles for men and women, it’s never just as simple as “I choose to be a housewife” or “I choose to work a full-time job outside the home.” There are so many factors – economic status, cultural and familial expectations, personal interests and pursuits, background, education, community.
I guess this is the part where we’re on our own, where we have to figure out the solution to our own gender problems, where we have to take responsibility for our own enlightenment.
One of my favorite quotes about gender is “femme is knowing what you’re doing.” My take on that is not that “all femmes know what they’re doing all the time,” but more like the implications that femme – or femininity, or gender expression in general – becomes an active choice, something that has a context and a history and a cultural understanding for the choices we’re making.
And it is possible to learn those things. Read into the history of gender studies, of compulsory gender roles and gender “deviance,” gender activism, butch/femme culture and society, the women’s and gay liberation movements. Get a sense of yourself & your gender in a larger sociological, historical, political, cultural, geographical context.
I see feminism as quite similar to how I am beginning to understand Buddhism: as philosophies, as world views. That it is a container, a baseline of explanation and understanding for how you see the world, interactions, social hierarchies, marginalized communities, value.
And as such, I really believe that everyone has a place within feminism. That everyone is affected by compulsory gender, by gender policing, by gender roles which oppress and restrict and encourage us to be less than full, open people, with access to the entire range of human experience. And therefore, everyone has the possibility to be liberated by studying the ways that these unspoken rules operate on the very personal, private aspects of our lives.
Here’s some suggestions of tools that have helped me along this search for knowledge and understanding. Add your own in the comments if you have further resources that significantly helped your perspective.
Feminism is For Everybody, bell hooks – amazing basic course in what feminism is, what it means, and where else to start looking. I’ve bought this for various people over the years. Completely accessible and wonderfully written.
The Feminine Mystique, Betty Friedan – the classic feminist text about compulsory domesticity. Though it’s dated, if this isn’t something that you’ve examined overtly, it might be time to read it.
Creating a Life Worth Living, Carol Lloyd – an artist workbook that guides you through figuring out what kind of life you want to live, what your values are, how you want to be spending your time, and helps you set goals to do that. Might be helpful & empowering in this particular issue of choosing to be a housewife, in that it might help you see where you particular strengths are, and what ways of spending your day will make you the happiest.
Manifesta, Jennifer Baumgardner & Amy Richards – I’ve already mentioned this, but if you haven’t read it I highly recommend it. Very accessible and fun to read.
The Dinner Party by Judy Chicago – is an art exhibit currently housed at the Brooklyn Museum in the feminist art wing. Problematic and highly criticized for it’s white and western-centric focus, but still an amazing piece of art which elevates traditional female domestic duties such as table settings, needlepoint, and ceramics and presents them in the context of a long history of powerful, strong, capable women.
It’s all a long process, right? Of getting to know oneself, of examining the world around us and seeing where we fit in, where we don’t, what we like, what we don’t. Of becoming self-aware. And, ultimately, of finding the bliss that makes our own lives uniquely worthwhile.
4. Let The Soft Animal of Your Body Love What It Loves
Eventually, this is the integrated goal of this process, I think: to “let the soft animal of your body / love what it loves.”
It comes from one of my favorite poems of all time, and is a line I often quote. With care and consciousness, I believe this concept of letting myself love what I love to be at the core of my feminist beliefs. And I believe it’s possible to operate from this place, and within a feminist context, with feminist philosophies and outlooks on life.
It isn’t until I unpack all the societal gunk that I can really see, really understand, what it is that the soft animal of my body loves, and what it is that I should do with my wild and precious life.
You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting -
over and over announcing your place
in the family of things.
We each carry lines of poetry with us. Words that others have written float back to us and stay with us, indelibly. We clutch these “Life Lines” like totems, repeat them as mantras, and summon them for comfort and laughter.
Anytime I think of my favorite poetry, poems that changed my life, significant lines of poetry, I always, always, always think of Wild Geese by Mary Oliver. And while I can think of a dozen – two dozen – more poems that have profoundly affected me (Under a Soprano Sky by Sonia Sanchez, Eating Poetry by Mark Strand, Otherwise by Jane Kenyon, Diving into the Wreck by Adrienne Rich), it is always Mary Oliver that I come back to when I have to name just one, and it is always Wild Geese.
At first, it was the opening lines:
You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert repenting.
You only have to let the soft animal of your body
love what it loves.
The simplicity of it. The miracle of letting go of suffering, and only allowing your body to “love what it loves.” Gorgeous. As if Oliver lept from the pages and plucked a diamond from my heart cavity and said, look. Just look what you have inside you.
But lately, it’s been the ending:
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting —
over and over announcing your place
in the family of things.
… that has really gotten to me. No matter how lonely or alone, or scared or tiny or uneffective you may feel, you still have a place in the family of things. You still have one particular little pinpoint of light on the map, on the earth.
I’ve carried this poem with me for a long time.