In Singapore by Mary Oliver, imagery plays a very important role. She writes a poem about a poor woman she saw in an airport in Singapore washing an ashtray in the toilet, and comparing a woman to a beautiful scene in nature. She writes a poem about this woman making her a symbol to the serene image of nature. She is also decreasing her disturbed perception of the woman to nature in the poem.
Through the projection of sensibility in the scene of nature, she can be harsh but accepting and express responsibility for her own life.
But all my life—so far— I have loved best how the flowers rise and open, howthe pink lungs of their bodies enter the fire of the world and stand there shining and willing—the onething they can do before they shuffle forward into the floor of darkness, they become the trees.
In her characteristic step-down lines, which give a feel of graceful floating, Oliver expresses the nature and work of beings to be fully and joyfully in the world before they move on to their merging in death.
Although Oliver began writing in the midst of the confessional movement of Robert Lowell, Anne Sexton, and Sylvia Plath, she never took on a victim persona.
To the contrary, all her effort has gone toward entering the deepest truths of what is within reach of human consciousness.
Most often looking to nature for experiential knowledge, she is deeply Romantic in the American vein, taking as her models Henry David Thoreau, Ralph Waldo Emerson, and Whitman.
The way of healing and spiritual awareness is through entering what nature knows. The dark underside of nature is the unconscious coming to light, bringing danger and the excitement of possibility.
In a baptism-communion-resurrection scene, the poet dips her hands in water and drinks. It tasteslike stone, leaves, fire. It falls coldinto my body, waking the bones. I hear themdeep inside me, whisperingoh what is that beautiful thingthat just happened? The mystery of ecstatic awakening precisely matches the flow of rapturous experience.
The acute perceptiveness and radiant clarity presaged in some earlier poems arrive strong and sustained. Using nature and Native American themes, the poet shows the body becoming firmly the locus of mind and spirit. However, there is a clear separation; Oliver is fully aware that boundaries can be crossed but must be crossed back again.
Knowledge is brought back from the visions of nature. Sorrow and death are part of nature, and the only way to heal is to accept this and go the difficult path straight through terror. Ecstasy, she writes, results from so long hungering for freedom to be oneself unrestricted by pain of the pain.
The entire section is 2, words. Biography Analysis 16 Homework Help Questions with Expert Answers You'll also get access to more than 30, additional guides andHomework Help questions answered by our experts.Oct 01, · “The Journey” by Mary Oliver is a poem about transformation.
The speaker challenges us to reject a life that revolves solely around responsibility to others, and to enter into the “wild night” in order to find our own voices. Dec 16, · Uniting essays from Oliver’s previous books and elsewhere, this gem of a collection offers a compelling synthesis of the poet’s thoughts on the natural, spiritual and artistic worlds.
American poet Mary Oliver and to write a well-organized essay analyzing how figurative language and other poetic techniques help Oliver convey her ideas about the relationship between the tree and the. Here is the link I used to give the poem a quick read. Let me know if there are any differences from your version: Mary Oliver The Sun The speaker of the poem leads the reader to reflect on our sun.
Selected Essays. by Mary Oliver. BUY NOW FROM Oliver also discusses “the inner vision” that has guided and driven her as she has moved “upstream” against conventional life currents.
In the second section, the poet offers observations on the forests, beaches, and watery places she loves. MORE BY MARY OLIVER. Adult. THE LEAF AND. Mary Oliver’s poem “Singapore” takes this self-congratulating attitude even further.
Before I read a discussion of this poet at Jonathan’s blog, I had never read anything by her. Now, however, I have encountered a perfect manifesto for pseudo-liberals everywhere.