I’m all about sweet, feminine vocals. Totally enraptured. I just want to float away into the ether on Joy Williams’ voice. Please and thank you.
But I won’t cry for yesterday
There’s an ordinary world
Somehow I have to find
And as I try to make my way
To the ordinary world
I will learn to survive
And now for something a bit different that I love!
A big yes to this beat! And a super creepy video clip.
Addicted to this song and especially this cover. Cannot get enough of Clea’s vocals.
Things fall apart. Nothing nothing nothing gon’ save me now…
Today is not a song. Today is 100 songs. Three of my favourite songs for 2018 were in the top 10. Five of my favourites didn’t make the list at all. But here they are, with number one up first.
How am I to do it again
If I can’t recall how it was in the beginning?
I was over there, now I’m over here
Easy for you, I’m still adjustingOkay, they say it will be okay~ Miya Folick ~
Warning: this post contains gratuitous Mary Oliver references and poems.
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.
Earlier this week, I posted two pictures on Instagram as part of the #10yearchallenge that is making its way around the interwebs. In the caption, I mentioned that I haven’t posted a selfie in a while because all I see are the same tired, empty eyes and the same strained smile as 10 years ago.
I had forgotten what it felt like to be this depressed. How nothing feels like anything and everything feels like nothing.
The difference, I said, between the two women was that one of them — thirty-year-old me — didn’t know she’d survive the depression she was in. And she didn’t want to. Forty-year-old me, on the other hand, knows that she can survive anything, and she will.
But I left something out. Something critical. There is also another major difference. Forty-year-old me has support that thirty-year-old me never had.
In late May 2014, I met G at a work conference. I flew out for the USA at the end of that week and, for the six weeks I was away, we somehow managed to find up to five hours a day to Skype. At one stage, while we were chatting, I was in a library, looking for a book of poetry.
“Poetry?” he repeated, as if I’d spoken another language (and perhaps I had).
“Yes,” I said. “Mary Oliver.”
I found what I was looking for and sent him a picture of the page. It was The Uses of Sorrow.
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.
When I arrived back from my holiday, instead of going home to Sydney, I jumped on a flight to Melbourne. We needed to know if this thing we had developed and nurtured was Real. True. Lasting.
Picking me up at the airport, he gave me two gifts; a set of pens from my favourite stationery store, and a copy of Thirst by Mary Oliver, containing the poem I’d been searching for.
I Did Think, Let’s Go About This Slowly
I did think, let’s go about this slowly.
This is important. This should take
some really deep thought. We should take
small thoughtful steps.
But, bless us, we didn’t.
Mary Oliver died this week. She was 83. I cannot remember how I first came across her; which poem it was that struck me, in all the ways her poems have struck me since. But I have a number of her books, and read them when I need reminding how to be human.
Poets, I find, know this intrinsically. And I am still learning – how to be a poet, and how to be a human. Because being human; being gentle, kind, loving, compassionate, and patient in this world is hard. Knowing death comes for us all is hard. Feeling dark things is hard.
When Death Comes
When death comes like the hungry bear in autumn;
when death comes and takes all the bright coins from his purse to buy me,
and snaps the purse shut;
when death comes like the measle-pox
when death comes like an iceberg between the shoulder blades,
I want to step through the door full of curiosity, wondering:
what is it going to be like, that cottage of darkness?
And therefore I look upon everything
as a brotherhood and a sisterhood,
and I look upon time as no more than an idea,
and I consider eternity as another possibility,
and I think of each life as a flower, as common
as a field daisy, and as singular,
and each name a comfortable music in the mouth,
tending, as all music does, toward silence,
and each body a lion of courage, and something
precious to the earth.
When it’s over, I want to say all my life
I was a bride married to amazement.
I was the bridegroom, taking the world into my arms.
When it’s over, I don’t want to wonder
if I have made of my life something particular, and real.
I don’t want to find myself sighing and frightened,
or full of argument.
I don’t want to end up simply having visited this world.
Although Mary Oliver won the Pulitzer Prize for poetry in 1984, the National Book Award in 1995, wrote 15 books of poetry and essays and was described by the New York times as America’s best-selling poet, she was still largely criticised as being too simplistic, too accessible with her plain verse and lack of typographical gimmicks.
As if that’s a thing.
Where most people find poetry confusing and convoluted, never fully grasping what the poet is trying to say, Mary Oliver used the natural world, interior revelations and small, daily observances to reach the reader. In a radio interview, she said that “poetry wishes for a community”. She wanted her words to find us.
Tonight, G found me struggling with anxiety. It was a state I’d hoped he’d never see me in. Not there. Not like that. And while it must have been a shock for him, his compassion and gentleness in the face of it made all the difference. He doesn’t yet know how much he helped.
There are things other people can do for me right now, and there are things only I can do for myself.
One day you finally knew
what you had to do, and began,
though the voices around you
their bad advice–
though the whole house
began to tremble
and you felt the old tug
at your ankles.
“Mend my life!”
each voice cried.
But you didn’t stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do–
determined to save
the only life you could save.
It is fair to say that Mary Oliver, much like Leonard Cohen, has shown me how to live. Her words speak to you directly, straightforwardly, kindly and earnestly.
In sixty-nine days, G and I will stand in front of our friends, say some lovely words to each other and commit to continue to nurture this incredible relationship. We both know what it is to be betrayed and it makes us all the more grateful for second chances, love, and joy.
If you suddenly and unexpectedly feel joy, don’t hesitate. Give in to it. There are plenty of lives and whole towns destroyed or about to be. We are not wise, and not very often kind. And much can never be redeemed. Still life has some possibility left. Perhaps this is its way of fighting back, that sometimes something happened better than all the riches or power in the world. It could be anything, but very likely you notice it in the instant when love begins. Anyway, that’s often the case. Anyway, whatever it is, don’t be afraid of its plenty. Joy is not made to be a crumb.
Six days ago, Lana Del Rey released her newest song.
I’ve been tearing around in my fucking night gown 2/47 Sylvia Plath
It’s a sheer, luminous ballad with her perfect voice echoing in a wash over barely-there piano chords.
Writing in blood on the walls ’cause the ink in my pen don’t work in my notepad
The sparse, elegiac lyrics pierce the hard shell I require in place in order to function at the moment.
Don’t ask if I’m happy, you know that I’m not but at best I can say I’m not sad
But they can’t crack it.
‘Cause hope is a dangerous thing for a woman like me to have
Hope is a dangerous thing for a woman with my past
A friend remixed it into a deeper orchestral version with a percussion beat. A feeling of foreboding in the verses is emphasised by the addition of cuts from Marilyn Monroe’s last interview. A repeating piano melody makes melancholy look good.
‘Cause I’ve got monsters still under my bed that I could never fight off
This is the most extreme depression I’ve battled in some years. I am empty.
Hope is a dangerous thing for a woman like me to have
But I have it
And yet, there is hope. Because history tells me it will pass.
If you want to listen to the original, here it is.