Status
Coming Soon
Call number
Collection
Genres
Publication
Penguin Press (2016), Edition: First Edition, 192 pages
Description
"'In the beginning I was so young and such a stranger to myself I hardly existed. I had to go out into the world and see it and hear it and react to it, before I knew at all who I was, what I was, what I wanted to be.' So begins Upstream, a collection of essays in which beloved poet Mary Oliver reflects on her willingness, as a young child and as an adult, to lose herself within the beauty and mysteries of both the natural world and the world of literature. Emphasizing the significance of her childhood 'friend' Walt Whitman, through whose work she first understood that a poem is a temple, 'a place to enter, and in which to feel,' and who encouraged her to vanish into the world of her writing, Oliver meditates on the forces that allowed her to create a life for herself out of work and love. As she writes, '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.' Upstream follows Oliver as she contemplates the pleasure of artistic labor, her boundless curiosity for the flora and fauna that surround her, and the responsibility she has inherited from Shelley, Wordsworth, Emerson, Poe, and Frost, the great thinkers and writers of the past, to live thoughtfully, intelligently, and to observe with passion. Throughout this collection, Oliver positions not just herself upstream but us as well as she encourages us all to keep moving, to lose ourselves in the awe of the unknown, and to give power and time to the creative and whimsical urges that live within us"--… (more)
User reviews
LibraryThing member lamotamant
In her essay collection, Upstream, Mary Oliver sets us on a trail through forest and by shore as she expertly layers in experience and thought from essay to essay. A collection of three parts, the latter two being expansions on the first, Upstream is Oliver's beautifully writ reflection on where
Oliver's essays on Whitman, Emerson, and Poe are insightful pieces that were immensely enjoyable to read. They offer perspective and interpretation on both each author's work and the motivation behind it and I would quickly recommend Oliver's essays as strong companion pieces to experiencing and/or revisiting each author in turn. Oliver illumines wonderful points about these specific authors as well as literature as a whole. As with the assertion, from her "Emerson: An Introduction," that
"The best use of literature bends not toward the narrow and the absolute but to the extravagant and the possible. Answers are no part of it; rather, it is the opinions, the rhapsodic persuasions, the engrafted logics, the clues that are to the mind of the reader the possible keys to his own self-quarrels, his own predicament. This is the crux of Emerson, who does not advance straight ahead but wanders to all sides of an issue; who delivers suggestions with a kindly gesture— who opens doors and tells us to look at things for ourselves. The one thing he is adamant about is that we should look— we must look— for that is the liquor of life, that brooding upon issues, that attention to thought even as we weed the garden or milk the cow."
The aspect of Oliver's Upstream that most connected me with her writing and most moved me to start reading her poetry is her ability to vividly capture the impress and beauty of the wild. Her prose is warm honey dripping from fresh honey comb and freshly spilled blood on snow. It holds a visceral heat and weight to it that is stirring and captivating. It made me think of Waldeinsamkeit, the 'untranslatable' German word for "the feeling of being alone in the woods" with wald meaning wood/forest and einsamkeit meaning loneliness or solitude. More yearn for than think of really. Thanks to an old yet never sated etymology addiction and a penchant for eagerly grabbing the bait whenever an article like "50 Untranslatable Words From Other Languages" pops up in my radar, waldeinsamkeit is what comes to mind when I think of having an intense connection with nature. Where one can be swallowed up by the underside of a trees' leaves or the glow surrounding the moon on a windy night; a perfect contentment in solitude while everything breathes around you. I can't say 'breathes' is really the word, that it really expresses a clear expression. That otherness felt in nature, as in literature and the poignance of both, is beyond my abilities of description but Oliver does it credit in her essay titled "Staying Alive".
"In the first of these—the natural world—I felt at ease; nature was full of beauty and interest and mystery, also good and bad luck, but never misuse. The second world—the world of literature—offered me, besides the pleasures of form, the sustentation of empathy... and I ran for it. I realized in it. I stood willingly and gladly in the characters of everything—other people, trees, clouds. And this is what I learned: that the world's otherness is antidote to confusion, that standing within this otherness—the beauty and the mystery of the world, out in the fields or deep inside books—can re-dignify the worst-stung heart."
Upstream is a collection I can definitely see myself revisiting and I look forward to reading more from Mary Oliver. I think it holds a wealth of inspiration for introspection and there are pieces of it that are still tumbling around my head and working themselves into all sorts of channels. Pieces that need to continually traipse about my mind in lewdly luminescent & emboldened letters as a consistent reminder such as,
"You must not ever stop being whimsical.
And you must not, ever, give anyone else the responsibility for your life."
I'd like to thank NetGalley for giving me the chance to discover, read, and review a new-to-me author with this ARC.
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she comes from, her kinship with the natural world and its wild ones, and the authors that have warmed her blood and quickened her own ink. Oliver's essays on Whitman, Emerson, and Poe are insightful pieces that were immensely enjoyable to read. They offer perspective and interpretation on both each author's work and the motivation behind it and I would quickly recommend Oliver's essays as strong companion pieces to experiencing and/or revisiting each author in turn. Oliver illumines wonderful points about these specific authors as well as literature as a whole. As with the assertion, from her "Emerson: An Introduction," that
"The best use of literature bends not toward the narrow and the absolute but to the extravagant and the possible. Answers are no part of it; rather, it is the opinions, the rhapsodic persuasions, the engrafted logics, the clues that are to the mind of the reader the possible keys to his own self-quarrels, his own predicament. This is the crux of Emerson, who does not advance straight ahead but wanders to all sides of an issue; who delivers suggestions with a kindly gesture— who opens doors and tells us to look at things for ourselves. The one thing he is adamant about is that we should look— we must look— for that is the liquor of life, that brooding upon issues, that attention to thought even as we weed the garden or milk the cow."
The aspect of Oliver's Upstream that most connected me with her writing and most moved me to start reading her poetry is her ability to vividly capture the impress and beauty of the wild. Her prose is warm honey dripping from fresh honey comb and freshly spilled blood on snow. It holds a visceral heat and weight to it that is stirring and captivating. It made me think of Waldeinsamkeit, the 'untranslatable' German word for "the feeling of being alone in the woods" with wald meaning wood/forest and einsamkeit meaning loneliness or solitude. More yearn for than think of really. Thanks to an old yet never sated etymology addiction and a penchant for eagerly grabbing the bait whenever an article like "50 Untranslatable Words From Other Languages" pops up in my radar, waldeinsamkeit is what comes to mind when I think of having an intense connection with nature. Where one can be swallowed up by the underside of a trees' leaves or the glow surrounding the moon on a windy night; a perfect contentment in solitude while everything breathes around you. I can't say 'breathes' is really the word, that it really expresses a clear expression. That otherness felt in nature, as in literature and the poignance of both, is beyond my abilities of description but Oliver does it credit in her essay titled "Staying Alive".
"In the first of these—the natural world—I felt at ease; nature was full of beauty and interest and mystery, also good and bad luck, but never misuse. The second world—the world of literature—offered me, besides the pleasures of form, the sustentation of empathy... and I ran for it. I realized in it. I stood willingly and gladly in the characters of everything—other people, trees, clouds. And this is what I learned: that the world's otherness is antidote to confusion, that standing within this otherness—the beauty and the mystery of the world, out in the fields or deep inside books—can re-dignify the worst-stung heart."
Upstream is a collection I can definitely see myself revisiting and I look forward to reading more from Mary Oliver. I think it holds a wealth of inspiration for introspection and there are pieces of it that are still tumbling around my head and working themselves into all sorts of channels. Pieces that need to continually traipse about my mind in lewdly luminescent & emboldened letters as a consistent reminder such as,
"You must not ever stop being whimsical.
And you must not, ever, give anyone else the responsibility for your life."
I'd like to thank NetGalley for giving me the chance to discover, read, and review a new-to-me author with this ARC.
Show Less
LibraryThing member thornton37814
When I first saw this book, its subtitle was "essays and poems." When I received the book, its subtitle was "selected essays." I love Mary Oliver's poetry so I was curious about her writing in the essay format; however, I really was not that thrilled about the book having very little poetry of hers
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with a couple of exceptions, introducing the book and perhaps one section. I was, however, pleasantly surprised that many of her essays were almost poetic because of the way she described things. In one section she reflects on the writings of other poets, and parts of their poems are included. I found all of the essays readable, but a few did not quite live up to the poetic characteristic of others. Still, all in all, it is a good collection, even if I was disappointed Oliver's own poetry was not really present. This review is based on an advance review copy received by the publisher through NetGalley for review purposes. Show Less
LibraryThing member Beamis12
4.5 I have read her poetry for years, she in one of my favorites but until this book I never knew she was an essayist. The beautiful writing and thoughts that are expressed in her poetry are also expressed in her writing. Thoughts on creativity, need for solitude, the wonder of the natural world,
Divided into three sections, the last two tying back to the first. Emerson, Poe, Whitman, those writers she finds indispensable to her own thoughts, peace of mind, fuel for her soul. I read these at night, before bed a few at a time and cherished the time I spent with them. Filled with special insights and wonder this was a special and beautiful read.
ARC from Netgalley.
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and those writers that she has loved since her youth. Divided into three sections, the last two tying back to the first. Emerson, Poe, Whitman, those writers she finds indispensable to her own thoughts, peace of mind, fuel for her soul. I read these at night, before bed a few at a time and cherished the time I spent with them. Filled with special insights and wonder this was a special and beautiful read.
ARC from Netgalley.
Show Less
LibraryThing member rmckeown
I try to avoid repeating author’s too closely together for Likely Stories. This becomes particularly difficult when one of my favorite authors pops up. However, in the case of Upstream: Selected Essays by Mary Oliver, I decided to break the rule. These essays are almost poems in themselves, and I
I freely admit Emerson is not a favorite of mine, but Oliver has turned my head in a less-than-12-page essay. She writes, “The best use of literature bends not toward the narrow and the absolute but to the extravagant and the possible. Answers are no part of it; rather, it is the opinions, the rhapsodic persuasions, the engrafted logics, the clues that are to the mind of the reader the possible keys to his own self-quarrels, his own predicament. This is the crux of Emerson, who does not advance straight ahead but wanders to all sides of an issue; who delivers suggestions with a kindly gesture – who opens doors and tells us to look at things for ourselves. The one thing he is adamant about is that we should look – we must look – for that is the liquor of life, that brooding upon issues, that attention to thought even as we weed the garden or milk the cow” (69) [Italics by author]
Mary Oliver closes section one of the book with a peak into her writing process. She writes, “It is six A.M., and I am working. I am absentminded, reckless, heedless of social obligations, etc. It is as it must be. The tire goes flat, the tooth falls out, there will be a hundred meals without mustard. The poem gets written. I have wrestled with the angel and I am stained with light and I have no shame. Neither do I have guilt. My responsibility is not to the ordinary, or the timely. It does not include mustard, or teeth. It does not extend to the lost button, or the beans in the pot. My loyalty is to the inner vision, whenever and howsoever it may arrive. If I have a meeting with you at three o’clock, rejoice if I am late. Rejoice even more if I do not arrive at all. // There is no other way work of artistic worth can be done. And the occasional success, to the striver, is worth everything. The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave it to neither power nor time” (30).
I adopt this passage, this essay, as my anthem, as my creed, as my goal.
Another favorite of mine is “Swoon.” She discovers a nesting spider, and with fascination I can only admire, she spins a lovely story. Mary writes, “This is the moment in an essay when the news culminates and, subtly or bluntly, the moral appears. It is a music to be played with the lightest fingers. All the questions that the spider’s curious life made me ask, I know I can find answered in some book of knowledge, of which there are many. But the palace of knowledge is different from the palace of discovery, in which I am truly, a Copernicus. The world is not what I thought, but different, and more! I have seen it with my own eyes! // Bur a spider? Even that? // Even That” (125) [Italics by author]
I haven’t commented as much as usual in this review, because I want to dangle a few bites of Mary Oliver’s splendid collection of essays, Upstream: Selected Essays, and let each reader take the bait and swim along with her. 5 stars
--Jim, 11/13/16
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have discovered another side to the poet. Nature is much more than a theme for most of her poems, rather it is closely held and dynamic aspect of her work. I said the when I reviewed Swan, I considered her a poetry soul mate. Upstream has reinforced that belief.I freely admit Emerson is not a favorite of mine, but Oliver has turned my head in a less-than-12-page essay. She writes, “The best use of literature bends not toward the narrow and the absolute but to the extravagant and the possible. Answers are no part of it; rather, it is the opinions, the rhapsodic persuasions, the engrafted logics, the clues that are to the mind of the reader the possible keys to his own self-quarrels, his own predicament. This is the crux of Emerson, who does not advance straight ahead but wanders to all sides of an issue; who delivers suggestions with a kindly gesture – who opens doors and tells us to look at things for ourselves. The one thing he is adamant about is that we should look – we must look – for that is the liquor of life, that brooding upon issues, that attention to thought even as we weed the garden or milk the cow” (69) [Italics by author]
Mary Oliver closes section one of the book with a peak into her writing process. She writes, “It is six A.M., and I am working. I am absentminded, reckless, heedless of social obligations, etc. It is as it must be. The tire goes flat, the tooth falls out, there will be a hundred meals without mustard. The poem gets written. I have wrestled with the angel and I am stained with light and I have no shame. Neither do I have guilt. My responsibility is not to the ordinary, or the timely. It does not include mustard, or teeth. It does not extend to the lost button, or the beans in the pot. My loyalty is to the inner vision, whenever and howsoever it may arrive. If I have a meeting with you at three o’clock, rejoice if I am late. Rejoice even more if I do not arrive at all. // There is no other way work of artistic worth can be done. And the occasional success, to the striver, is worth everything. The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave it to neither power nor time” (30).
I adopt this passage, this essay, as my anthem, as my creed, as my goal.
Another favorite of mine is “Swoon.” She discovers a nesting spider, and with fascination I can only admire, she spins a lovely story. Mary writes, “This is the moment in an essay when the news culminates and, subtly or bluntly, the moral appears. It is a music to be played with the lightest fingers. All the questions that the spider’s curious life made me ask, I know I can find answered in some book of knowledge, of which there are many. But the palace of knowledge is different from the palace of discovery, in which I am truly, a Copernicus. The world is not what I thought, but different, and more! I have seen it with my own eyes! // Bur a spider? Even that? // Even That” (125) [Italics by author]
I haven’t commented as much as usual in this review, because I want to dangle a few bites of Mary Oliver’s splendid collection of essays, Upstream: Selected Essays, and let each reader take the bait and swim along with her. 5 stars
--Jim, 11/13/16
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LibraryThing member kaylaraeintheway
A great collection on nature and literature from Mary Oliver, who is fast becoming a favorite of mine. Her essay on an injured gull she took in made me cry on the plane, and the essays on Poe, Emerson, and Whitman warmed my English-major heart (and made me wish I could write a final paper like
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that). A small and lovely collection from one of the best. Show Less
LibraryThing member LilyRoseShadowlyn
Absolutely loved this collection of essays. Mary Oliver has a way with words that not only draws the reader in, but makes you forget your surroundings for awhile as you delve deeper into her world. It's a small but deep glimpse into a beautiful mind that sees the world differently than ordinary
Received for review
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people. I honestly felt like I was walking the paths with a kindred spirit.Received for review
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LibraryThing member LDVoorberg
The first essay was my favourite, being a lyrical reflection on spending time in nature. After that most of the essays are short enough to read in a quick sitting or just before bed. worthwhile
LibraryThing member Osbaldistone
A fine collection of essays, many directly about writing and the life of a writer. I love Mary Oliver's voice.
LibraryThing member KimMeyer
Most of the essays are really lovely! There are a few that are well-written but not personally resonant for me, but mostly it's a great collection of writing on nature and creative work.
LibraryThing member alexezell
A slim but thought-provoking collection that is rooted in Nature's impact on our lives both external and internal. It also delves into the author's personal connection to several literary greats. In a sense, it's wide-ranging but also deeply personal. That veering from one to the other provides a
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rhythm and structure that connects the essays in engaging ways. Show Less
LibraryThing member JulieStielstra
Lovely, dense, serious. Imagery that made me catch my breath ("Great blue herons, like angels carved by Giacometti..."). An especially fine one about the demands made by one's art, "wrestling with the angel." "If I have an appointment with you at three o' clock, rejoice if I am late. Rejoice even
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more if I do not come at all." A lot of nature writing can be summed up as "isn't nature pretty." These are not quite like that. Persist and you will be rewarded. Show Less
LibraryThing member laytonwoman3rd
I love Mary Oliver's deceptively simple poetry, and this collection of essays proves that she can make prose as poetic as verse, particularly when musing on the natural world. As a further benefit, there are pieces on Wordsworth, Poe and Whitman as succinct and downright useful as anything I have
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ever read. Oliver has lived with Whitman since she was a teenager, much as I have lived with Faulkner. Her loving, unacademic approach to his complexities has encouraged me to give Leaves of Grass another go with her observations to guide me. Show Less
LibraryThing member wvlibrarydude
A wonderful collection of essays that actually seems like you're reading poetry at times. There were a couple that were not focused on nature, but were about writers like Poe, Whitman, and Emerson. These essays were good, they didn't bring the interest in joy that her observations of the natural
Mary Oliver has easily become one of my favorite authors. Just reading this book and a thousand mornings, has solidified my interest to read and revisit her works from now on. For those who have not read Oliver yet, start now and enjoy.
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world formed in my mind.Mary Oliver has easily become one of my favorite authors. Just reading this book and a thousand mornings, has solidified my interest to read and revisit her works from now on. For those who have not read Oliver yet, start now and enjoy.
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LibraryThing member Aidan767
Some good essays. Not much continuity. Made me want to read Annie Dillard.
Language
Original language
English
Original publication date
2016
Physical description
192 p.; 5.7 inches
ISBN
1594206708 / 9781594206702