Winter Hours: Prose, Prose Poems, and Poems

by Mary Oliver

In the act of writing the poem, I am obedient, and submissive. Insofar as one can, I put aside ego and vanity, and even intention. I listen. What I hear is almost a voice, almost a language. It is a second ocean, rising, singing into one’s ear, or deep inside the ears, whispering in the recesses where one is less oneself than a part of some single indivisible community. Blake spoke of taking dictation. I am no Blake, yet I know the nature of what he meant. Every poet knows it. One learns the craft, and then casts off. One hopes for gifts. One hopes for direction. It is both physical, and spooky. It is intimate, and inapprehensible. Perhaps it is for this reason that the act of first-writing, for me, involves nothing more complicated than paper and pencil. The abilities of a typewriter or computer would not help in this act of slow and deep listening. I could not be a poet without the natural world. Someone else could. But not me. For me the door to the woods is the door to the temple. Under the trees, along the pale slopes of sand, I walk in an ascendant relationship to rapture, and with words I celebrate this rapture. I see, and dote upon, the manifest. Persons environmentally inclined have suggested that I am one of them. I don’t argue with them, but it’s not quite a fit. My work doesn’t document any of the sane and learned arguments for saving, healing, and protecting the earth for our existence. What I write begins and ends with the act of noticing and cherishing, an...