The Sun Never Says

Even

After

All this time

The sun never says to the earth,

"You owe

Me."

Look

What happens

With a love like that,

It lights the

Whole Sky.

-- Hafiz, (Khwāje Shams-od-Dīn Moḥammad Ḥāfeẓ-e), (1325-1390) the greatest of Persian poets and Sufi Muslim.

Finding

It is not about going on a particular night in the knowledge of finding a foal;
it is the chance of it, the perhaps – the making of time to try.
The struggling up at three in the morning in the strangeness of the dark
to get ready in soft voices; the going out into the fields on padded feet,
no longer worrying about what tasks have been completed, which left undone.
It is about walking together leaving silvery trails, uneven, through long lush grass;
about coming at last to the place where you hoped it might happen,
for some things are not certain – in this world where almost everything
is written down and long decided – and always it has been that way.
This water meadow where there is always scent of something not quite known;
a bowl made of low hills and round it the ancient trees held in the still dark.
However many yards away the foal already trying to hobble onto legs ridiculously big,
and she pouring into him all the love that she possesses.
Unselfconsciously and with reverence
it is about kneeling in the long wet grass to watch, to wonder.

--Kenneth Steven, Scots poet, from Iona: New and Selected Poems (Paraclete Poetry).

Musical Notation: 1

The physicality of the religious poets should not
be taken idly. He or she, who loves God, will
look most deeply into His works. Clouds are not
only vapor, but shape, mobility, silky sacks of
nourishing rain. The pear orchard is not
only profit, but a paradise of light. The luna moth,
who lives but a few days, sometimes only a few
hours, has a pale green wing whose rim is like a
musical notation. Have you noticed? 

We had a dog once that adored flowers; no mat-
ter how briskly she went through the fields, she
must stop and consider the lilies, tiger lilies, and
other blossoming things along her way. Another
dog of our household loved sunsets and would
run off in the evenings to the most western part
of the shore and sit down on his haunches for
the whole show, that pink and peach colored
swollenness. Then home he would come trot-
ting in the alpenglow, that happy dog.

--Mary Oliver (1935- 2019), prolific and popular American poet and lover of nature, from Thirst.

Messenger

My work is loving the world.

Here the sunflowers, there the hummingbird—
   equal seekers of sweetness.
Here the quickening yeast; There the blue plums.
Here the clam deep in the speckled sand.

Are my boots old? Is my coat torn?
Am I no longer young, and still not half-perfect? Let me
   keep my mind on what matters,
which is my work,

which is mostly standing still and learning to be
   astonished.
The phoebe, the delphinium.
The sheep in the pasture, and the pasture.
Which is mostly rejoicing, since all the ingredients are here,

which is gratitude, to be given a mind and a heart
   and these body-clothes,
a mouth with which to give shouts of joy
   to the moth and the wren, to the sleepy dug up clam,
telling them all, over and over, how it is
   that we live forever.


--Mary Oliver (1935-2019), American poet, teacher, writer and treasure, from Thirst: Poems, 2006

Image: Anemones in the Augustinian nunnery ruins, Iona, 2018.

To Find God

Weigh me the fire; or canst thou find

A way to measure out the wind?
Distinguish all those floods that are
Mixed in that wat'ry theater,
And taste thou them as saltless there,
As in their channel first they were.
Tell me the people that do keep
Within the kingdoms of the deep;
Or fetch me back that cloud again,
Beshivered into seeds of rain.
Tell me the motes, dust, sands, and spears
Of corn, when summer shakes his ears;
Show me that world of stars, and whence
They noiseless spill their influence.
This if thou canst; then show me Him
That rides the glorious cherubim.

-Robert Harrick (1591-1674), English poet and Anglican priest

Autumn Psalm

A full year passed (the seasons keep me honest)
since I last noticed this same commotion.
Who knew God was an abstract expressionist?

I’m asking myself—the very question
I asked last year, staring out at this array
of racing colors, then set in motion

by the chance invasion of a Steller’s jay.
Is this what people mean by speed of light?
My usually levelheaded mulberry tree

hurling arrows everywhere in sight—
its bow: the out-of-control Virginia creeper
my friends say I should do something about,

whose vermilion went at least a full shade deeper
at the provocation of the upstart blue,
the leaves (half green, half gold) suddenly hyper

in savage competition with that red and blue—
tohubohu returned, in living color.
Kandinsky: where were you when I needed you?

My attempted poem would lie fallow a year;
I was so busy focusing on the desert’s
stinginess with everything but rumor.

No place even for the spectrum’s introverts—
rose, olive, gray—no pigment at all—
and certainly no room for shameless braggarts

like the ones that barge in here every fall
and make me feel like an unredeemed failure
even more emphatically than usual.

And here they are again, their fleet allure
still more urgent this time—the desert’s gone;
I’m through with it, want something fuller—

why shouldn’t a person have a little fun,
some utterly unnecessary extravagance?
Which was—at least I think it was—God’s plan

when He set up (such things are never left to chance)
that one split-second assignation
with genuine, no-kidding-around omnipotence

what, for lack of better words, I’m calling vision.
You breathe in, and, for once, there’s something there.
Just when you thought you’d learned some resignation,

there’s real resistance in the nearby air
until the entire universe is swayed.
Even that desert of yours isn’t quite so bare

and God’s not nonexistent; He’s just been waylaid
by a host of what no one could’ve foreseen.
He’s got plans for you: this red-gold-green parade

is actually a fairly detailed outline.
David never needed one, but he’s long dead
and God could use a little recognition.

He promises. It won’t go to His head
and if you praise Him properly (an autumn psalm!
Why didn’t I think of that?) you’ll have it made.

But while it’s true that my Virginia creeper praises Him,
its palms and fingers crimson with applause,
that the local breeze is weaving Him a diadem,

inspecting my tree’s uncut gold for flaws,
I came to talk about the way that violet-blue
sprang the greens and reds and yellows

into action: actual motion. I swear it’s true
though I’m not sure I ever took it in.
Now I’d be prepared, if some magician flew

into my field of vision, to realign
that dazzle out my window yet again.
It’s not likely, but I’m keeping my eyes open

though I still wouldn’t be able to explain
precisely what happened to these vines, these trees.
It isn’t available in my tradition.

For this, I would have to be Chinese,
Wang Wei, to be precise, on a mountain,
autumn rain converging on the trees,

a cassia flower nearby, a cloud, a pine,
washerwomen heading home for the day,
my senses and the mountain so entirely in tune

that when my stroke of blue arrives, I’m ready.
Though there is no rain here: the air’s shot through
with gold on golden leaves. Wang Wei’s so giddy

he’s calling back the dead: Li Bai! Du Fu!
Guys! You’ve got to see this—autumn sun!
They’re suddenly hell-bent on learning Hebrew

in order to get inside the celebration,
which explains how they wound up where they are
in my university library’s squashed domain.

Poor guys, it was Hebrew they were looking for,
but they ended up across the aisle from Yiddish—
some Library of Congress cataloger’s sense of humor:

the world’s calmest characters and its most skittish
squinting at each other, head to head,
all silently intoning some version of kaddish

for their nonexistent readers, one side’s dead
(the twentieth century’s lasting contribution)
and the other’s insufficiently learned

to understand a fraction of what they mean.
The writings in the world’s most spoken language
across from one that can barely get a minyan.

Sick of lanzmen, the yidden are trying to engage
the guys across the aisle in some conversation:
How, for example, do you squeeze an image

into so few words, respectfully asks Glatstein.
Wang Wei, at first, doesn’t understand the problem
but then he shrugs his shoulders, mumbles Zen

... but, please, I, myself, overheard a poem,
in the autumn rain, once, on a mountain.
How do you do it? I believe it’s called a psalm?

Glatstein’s cronies all crack up in unison.
Okay, groise macher, give him an answer.
But Glatstein dons his yarmulke (who knew he had one?)

and starts the introduction to the morning prayer,
Pisukei di zimrah, psalm by psalm.
Wang Wei is spellbound, the stacks’ stale air

suddenly a veritable balm
and I’m so touched by these amazing goings-on
that I’ve forgotten all about the autumn

staring straight at me: still alive, still golden.
What’s gold, anyway, compared to poetry?
a trick of chlorophyll, a trick of sun.

True. It was something, my changing tree
with its perfect complement: a crimson vine,
both thrown into panic by a Steller’s jay,

but it’s hard to shake the habit of digression.
Wandering has always been my people’s way
whether we’re in a desert or narration.

It’s too late to emulate Wang Wei
and his solitary years on that one mountain
though I’d love to say what I set out to say

just once. Next autumn, maybe. What’s the occasion?
Glatstein will shout over to me from the bookcase
(that is, if he’s paying any attention)

and, finally, I’ll look him in the face.
Quick. Out the window, Yankev. It’s here again.

--Jaqueline Osherow (1958- ), American Jewish poet, from The Hoopoe's Crown: Poems (2005)

Ah, Ah

for Lurline McGregor


Ah, ah cries the crow arching toward the heavy sky over the marina.
Lands on the crown of the palm tree.

Ah, ah slaps the urgent cove of ocean swimming through the slips.
We carry canoes to the edge of the salt.

Ah, ah groans the crew with the weight, the winds cutting skin.
We claim our seats. Pelicans perch in the draft for fish.

Ah, ah beats our lungs and we are racing into the waves.
Though there are worlds below us and above us, we are straight ahead.

Ah, ah tattoos the engines of your plane against the sky—away from these waters.
Each paddle stroke follows the curve from reach to loss.

Ah, ah calls the sun from a fishing boat with a pale, yellow sail. We fly by
on our return, over the net of eternity thrown out for stars.

Ah, ah scrapes the hull of my soul. Ah, ah.


-- Joy Harjo (1951- ), poet laureate of the US, member of the Muscogee (Creek) Nation, teacher, musician, and native Tulsan, from How We Became Human: New and Selected Poems:1975-2001

Attention, Astonishment, Witness: Homily for Ash Wednesday

Some might find it ironic about the gospel reading for today—to hear Jesus warn against disfiguring our faces when many of us are getting ready for the imposition of ashes. On the surface, it would seem that we are engaging in exactly the kind of grandstanding that Jesus is warning about. But when we have the ashes placed upon our foreheads, the purpose is to remind US that we are entering a penitential season, and that since we are ashes, it is important to live our lives in the most faithful way possible.

But also, Jesus spoke at a time when big shows of piety were often put to work for gain in social status or influence, because religious performance was something most people took for granted. And while many people nowadays may do the first part of that last sentence—putting on a show of their supposed religious affiliation, those numbers are getting smaller and smaller each year all across the West. For many of us, walking around all day with a sign of a cross on our foreheads makes us stand out in a different way in an ever-secularizing world.

It's not about showing off. It IS about what you most treasure and proclaim in your life.
The late, beloved American poet Mary Oliver, in her poem “Sometimes,” offered seven linked poems together. Right at the fulcrum, at number 4, she offered these instructions for living a life:

Pay attention.
Be astonished.
Tell about it.

I am convinced that those are also the instructions for discipleship:

Pay attention.
Be astonished.
Tell about it.

Attention. Astonishment. Witness.

So let’s start with paying attention right now. 

Just where did those ashes come from that we will soon have pressed into our brows? They came from the palms that we waved on Palm Sunday, ten months ago. They were once young fronds on a palm tree, and then we blessed them and waved them as we re-enacted Jesus’s triumphal entry into Jerusalem a week before his trial and crucifixion. Then they sat and dried out for almost a full year. Eventually the dried out remnants were collected, and then they were burned. A match was lit, and light and heat were released from the gases that remained in the palms from the materials they had absorbed from the ground during their life on the tree. They were then ground up, and mixed with the same chrism that we use when we anoint people at their baptisms and at their confirmations. Oil and ashes. Light and heat. And a human touch to press them onto our foreheads—one soul to another.

So what is the astonishing thing about this? We are reminded that we came from the dust and we return to the dust. That sounds dreadful—until you consider that the ash and dust that we are marked with contains atoms which resonate in you, me, everyone and everything, everywhere. The elements that make up that dust were in that palm frond and in that tree and in its roots, but have also been here all along in the billions of years since the Earth’s creation. And those elements were deposited here and fused together to create this beautiful planet, born from the explosions of stars halfway across the galaxy. As Joni Mitchell sang, “We are stardust….” That is indeed astonishing, and it reminds us that here at the start of Lent we are called to recognize the acknowledge the way that this common heritage makes us all one. Especially as the drums of war beat right now across eastern Europe in Ukraine, what could be more astonishing than that bold statement of fact? We are all dust, and we are therefore all one with each other and with all that is.

And then, that mark on our foreheads is part of us telling about it. We are not called to come to church merely to feed ourselves or tend to our own needs. We are called to TELL the world about what we have encountered in Jesus. We are called to let that black smudge on our foreheads be not just an acknowledgement of our finitude, our own mortality, but our own encounter with the love of God as it became human and mortal, just like us, to show us how to live a fully human life—one of love and concern for others, and faithfulness to our God.

And so how does Mary Oliver demonstrate that sense of attention, astonishment, and witness? Now that we have looked at the balancing point, let’s hear the poem in its entirety:

1.

Something came up
out of the dark.
It wasn’t anything I had ever seen before.
It wasn’t an animal
or a flower,
unless it was both.

Something came up out of the water,
a head the size of a cat
but muddy and without ears.

I don’t know what God is.
I don’t know what death is.

But I believe they have between them
some fervent and necessary arrangement.

2.

Sometimes
melancholy leaves me breathless…

3.

Water from the heavens! Electricity from the source!
Both of them mad to create something!

The lighting brighter than any flower.
The thunder without a drowsy bone in its body.

4.

Instructions for living a life:
Pay attention.
Be astonished.
Tell about it.

5.

Two or three times in my life I discovered love.
Each time it seemed to solve everything.
Each time it solved a great many things
but not everything.
Yet left me as grateful as if it had indeed, and
thoroughly, solved everything.

6.

God, rest in my heart
and fortify me,
take away my hunger for answers,
let the hours play upon my body
like the hands of my beloved.

Let the cathead appear again-
the smallest of your mysteries,
some wild cousin of my own blood probably-
some cousin of my own wild blood probably,
in the black dinner-bowl of the pond.

7.

Death waits for me, I know it, around
one corner or another.
This doesn’t amuse me.
Neither does it frighten me.

After the rain, I went back into the field of sunflowers.
It was cool, and I was anything but drowsy.
I walked slowly, and listened

to the crazy roots, in the drenched earth, laughing and growing.


This is our chance to repent. I know that word makes many of us wince and edge away. So let’s try to rephrase it. This is our chance to re-center ourselves, not just for forty days but for each moment.

Lent calls us to attention, astonishment, and witness. Lent calls us to see the potential rather than the dreariness and horror of pandemic and now war, to look for the beauty and unity among ourselves and all God’s sparkling mysterious creation placed here for our support and care. Lent calls us to proclaim, to tell, to be truthful and reliable in our witness to God’s love by embodying God’s love. I don’t know about you, but I have never needed that kind of Lent more than right now. A Life-giving Lent. A Lent of slowing down and inviting ourselves to wonder and gratitude. A Lent that calls us to stand for right and honor and compassion no matter what the price tag. Lent calls us not to more suffering and uncertainty, but to holiness, which is ALWAYS within our range of choices.

Lent is not a season to be endured, but a gift of insight into what we really should treasure. It is in the everyday world that we live, and we need to make our faith not just a Sunday faith or a Lenten discipline but a part of a living and breathing. Some call this mindfulness, and it is such a wonderful concept.

Pay attention.
Be astonished.
Tell about it.

Preached at the 7 pm AshWednesday service, online and in person, at St. Martin's Episcopal Church, Ellisville, MO.

Readings:

• Joel 2:1-2,12-17
• 2 Corinthians 5:20b-6:10
• Matthew 6:1-6,16-21
• Psalm 103:8-14

Final Soliloquy of the Interior Paramour

Light the first light of evening, as in a room
In which we rest and, for small reason, think
The world imagined is the ultimate good.

This is, therefore, the intensest rendezvous.
It is in that thought that we collect ourselves,
Out of all the indifferences, into one thing:

Within a single thing, a single shawl
Wrapped tightly round us, since we are poor, a warmth,
A light, a power, the miraculous influence.

Here, now, we forget each other and ourselves.
We feel the obscurity of an order, a whole,
A knowledge, that which arranged the rendezvous.

Within its vital boundary, in the mind.
We say God and the imagination are one...
How high that highest candle lights the dark.

Out of this same light, out of the central mind,
We make a dwelling in the evening air,
In which being there together is enough.

--Wallace Stevens (1879-1955), American poet and business executive

Prayer: Inspired by Caedmon's Hymn

O God the Maker, whose creation 

brings forth stuttering praises of awe and wonder
from the untutored tongues of your children,
our hearts overflow with your marvelous love.

Holy One, you weave the silken tapestry of heaven,
glorious to drink in and refresh our faith,
spread overhead like the canopy of a mighty oak
drawn anew to contemplate the depth of your wisdom.

Our feet firmly planted among the grasses,
our eyes lifted to the spangled expanse
of the roof of the world You have made, World-Warden;
we stretch heavenward like tender saplings.

You have fashioned this Earth as our home,
and made it holy by the work of your fingers
for all to rejoice in your bounty.

Gratitude and wonder are the foundation of our prayer,
surging up like a spring of water from our souls.

And now, O Creator,
gather our swirling thoughts
within the bounds of your mercy,
and grant your blessing upon us,
and all who turn their hearts to your light.

Amen.

Translations of Caedmon's Hymn, believed to be the oldest surviving English poem, can be found here.

A Blessing

Just off the highway to Rochester, Minnesota, 

Twilight bounds softly forth on the grass. 

And the eyes of those two Indian ponies 

Darken with kindness. 

They have come gladly out of the willows 

To welcome my friend and me. 

We step over the barbed wire into the pasture 

Where they have been grazing all day, alone. 

They ripple tensely, they can hardly contain their happiness 

That we have come. 

They bow shyly as wet swans. They love each other. 

There is no loneliness like theirs. 

At home once more, 

They begin munching the young tufts of spring in the darkness. 

I would like to hold the slenderer one in my arms, 

For she has walked over to me 

And nuzzled my left hand. 

She is black and white, 

Her mane falls wild on her forehead, 

And the light breeze moves me to caress her long ear 

That is delicate as the skin over a girl’s wrist. 

Suddenly I realize 

That if I stepped out of my body I would break 

Into blossom.


-- James Wright (1927-1980), American poet, from Above the River: The Complete Poems & Selected Prose (edited by Anne Wright), 1990.

Daily

These shriveled seeds we plant, 

corn kernel, dried bean, 

poke into loosened soil, 

cover over with measured fingertips 

These T-shirts we fold 

into perfect white squares 

These tortillas we slice and fry to crisp strips 

This rich egg scrambled in a gray clay bowl 

This bed whose covers I straighten 

smoothing edges till blue quilt fits brown 

blanket 

and nothing hangs out

This envelope I address 

so the name balances like a cloud 

in the center of sky

This page I type and retype 

This table I dust till the scarred wood shines 

This bundle of clothes I wash and hang 

and wash again 

like flags we share, a country so close 

no one needs to name it 

The days are nouns: touch them 

The hands are churches that worship the world

--Naomi Shihab Nye (1952- ), Palestinian-American poet, from Words Under Words: Selected Poems, 1995

The Dimensions of the Milky Way

Behind the men’s dorm
at dusk on a late May evening,
Carver lowers the paper
and watches the light change.
He tries to see earth
across a distance
of twenty-five thousand light-years,
from the center of the Milky Way:
a grain of pollen, a spore
of galactic dust.
He looks around:
that shagbark, those swallows,
the fireflies, that blasted mosquito:
this beautiful world.
A hundred billion stars
in a roughly spherical flattened disc
with a radius of one hundred light-years.
Imagine that.
He catches a falling star.
Well, Lord, this infinitesimal speck
could fill the universe with praise.


--Marilyn Nelson (1946- ), African American poet and translator, Poet Laureate of Connecticut

Saints Bowing in the Mountains

Do you know how beautiful you are? 

I think not, my dear.

For as you talk of God,
I see great parades with wildly colorful bands 

Streaming from your mind and heart, 

Carrying wonderful and secret messages
To every corner of this world.

I see saints bowing in the mountains 

Hundreds of miles away
To the wonder of sounds
That break into light

From your most common words.

Speak to me of your mother, 

Your cousins and your friends.

Tell me of squirrels and birds you know. 

Awaken your legion of nightingales - 

Let them soar wild and free in the sky

And begin to sing to God. 

Let's all begin to sing to God!

Do you know how beautiful you are? 

I think not, my dear,

Yet Hafiz
Could set you upon a Stage 

And worship you forever!

--Hafiz of Shiraz (1310-1390), one of the greatest Persian lyric poets

April

The little goat
crops
new grass lying down 
leaps up eight inches
into air and
lands on four feet.
Not a tremor -
solid in the spring and serious
he walks away

--Yvor Winters, (1900-1968), American poet and teacher, observer of California

Look!

As we learned how to read, were we 
beginning to forget to look, 
our young eyes caught in tangles of print 
so that imagination was choked? Were we 
trapped at that remove from ourselves? 

Or did we begin to see a new way, with eyes 
that widened in the amazement of reverie, 
memory, invention? As we peered 
between the words, could we make out 
shapes and colors beyond them?

What did our inside eyes make of 
the black marks on creamy paper, on onionskin? 
A dream of angels turned real, perhaps. 
A wooden boat on a lake. Three small loaves 
fragmented to fill all those empty mouths 

and baskets. Or this: a blind man 
opening his eyes so that the first face he sees -
a vision, surely - is Christ's, spittle 
still shining on the quick fingers, 
his mouth saying urgently, Look! 

—Luci Shaw (1928- ) from Accompanied by Angels: Poems of the Incarnation

The Sparrow

A little bird, with plumage brown,
Beside my window flutters down,
A moment chirps its little strain,
Then taps upon my window-pane,
And chirps again, and hops along,
To call my notice to its song;
But I work on, nor heed its lay,
Till, in neglect, it flies away.
So birds of peace and hope and love
Come fluttering earthward from above,
To settle on life's window-sills,
And ease our load of earthly ills;
But we, in traffic's rush and din
Too deep engaged to let them in,
With deadened heart and sense plod on,
Nor know our loss till they are gone.

--Paul Laurence Dunbar (1872-1906), trailblazing African American poet, writer, and playwright,

Primary Wonder

Days pass when I forget the mystery.
Problems insoluble and problems offering
their own ignored solutions
jostle for my attention, they crowd its
antechamber
along with a host of diversions, my courtiers,
wearing their colored clothes; cap and bells. 
                                                                   And then
once more the quiet mystery
is present to me, the throng's clamor
recedes: the mystery
that there is anything, anything at all,
let alone cosmos, joy, memory, everything,
rather than void: and that, O Lord,
Creator, Hallowed One, You still,
hour by hour sustain it.

--Denise Levertov (1923–1997), Anglo-American poet, Christian convert at 60, daughter of a Welsh mother and a Hasidic father who became an Anglican priest

Lost, All in Wonder

Godhead here in hiding, whom I do adore,
Masked by these bare shadows, shape and nothing more,
See, Lord, at thy service low lies here a heart
Lost, all lost in wonder at the God thou art.

Seeing, touching, tasting are in thee deceived:
How says trusty hearing? that shall be believed;
What God's Son has told me, take for truth I do;
Truth himself speaks truly or there's nothing true.

On the cross thy godhead made no sign to men,
Here thy very manhood steals from human ken:
Both are my confession, both are my belief,
And I pray the prayer of the dying thief.

I am not like Thomas, wounds I cannot see,
But can plainly call thee Lord and God as he;
Let me to a deeper faith daily nearer move,
Daily make me harder hope and dearer love.

O thou our reminder of Christ crucified,
Living Bread, the life of us for whom he died,
Lend this life to me then: feed and feast my mind,
There be thou the sweetness man was meant to find.

Bring the tender tale true of the Pelican;
Bathe me, Jesu Lord, in what thy bosom ran —
Blood whereof a single drop has power to win
All the world forgiveness of its world of sin.

Jesu, whom I look at shrouded here below,
I beseech thee send me what I thirst for so,
Some day to gaze on thee face to face in light
And be blest forever with thy glory's sight.

-- Thomas Aquinas (1225–1274), theologian and poet

More Beautiful Than the Honey Locust Tree Are the Words of the Lord

                                                                                      1.
In the household of God, I have stumbled in recitation,
     and in my mind I have wandered.
I have interrupted worship with discussion.
Once I extinguished the Gospel candle after all the others.
But never held the cup to my mouth lagging in gratitude.

                                                                                      2. 
The Lord forgives many things,
so I have heard.

                                                                                      3.
The deer came into the field.
I saw her peaceful face and heard the shuffle of her breath.
She was sweetened by merriment and not afraid,
     but bold to say
whose field she was crossing: spoke the tap of her foot:
"It is God's, and mine."

But only that she was born into the poem that God made, and
called the world.

                                                                                      4.
And the goldfinch too
And the black pond I named my little sister, since
     otherwise I had none.
And the muskrat with his shy hands.
And the tiny life of the single pine needle,
     which nevertheless shines.

And the priest in her beautiful vestments,
her hand over the chalice.

And the clouds moving, over the valleys of Truro.

                                                                                      5.
All day I watch the sky changing from blue to blue.
For You are forever
and I am like a single day that passes.
All day I think thanks for this world,
for the rocks and the tips of the waves,
for the tupelos and the fading roses.
For the wind.
For You are forever
while I am a single day that passes.
You are the heart of the cedars of Lebanon
     and the fir called Douglas,
the bristlecone, and the willow.

                                                                                      6.
It's close to hopeless,
for what I want to say the red-bird
has said already, and better, in a thousand trees.

The white bear, lifting one enormous paw, has said it better.

You cannot cross one hummock or furrow but it is
His holy ground.

                                                                                      7.
I had such a longing for virtue, for company.
I wanted Christ to be as close as the cross I wear. 
I wanted to read and serve, to touch the altar linen.
Instead I went back to the woods where not a single tree
     turns its face away.

Instead I prayed, oh Lord, let me be something
     useful and unpretentious.
Even the chimney swift sings.
Even the cobblestones have a task to do, and do it well.

Lord, let me be a flower, even a tare; or a sparrow.
Or the smallest bright stone in a ring worn by someone
     brave and kind, whose name I will never know.

Lord, when I sleep I feel you near.

When I wake, and you are already wiping the stars away,
I rise quickly, hoping to be like your wild child
the rose, the honey-maker the honey-vine;
a bird shouting its joy as it floats
through the gift you have given us: another day.

-- Mary Oliver (1935-2019) American poet and author, who passed away today, from Thirst: Poems, 2006