{"id":2106,"date":"2026-08-17T12:40:26","date_gmt":"2026-08-17T12:40:26","guid":{"rendered":"https:\/\/commercialrelocationpros.com\/?p=2106"},"modified":"2026-08-17T12:40:26","modified_gmt":"2026-08-17T12:40:26","slug":"the-poet-laureate-of-pinterest","status":"publish","type":"post","link":"https:\/\/commercialrelocationpros.com\/?p=2106","title":{"rendered":"The Poet Laureate of Pinterest"},"content":{"rendered":"<section>\n<p>Committed anxious types like me rarely find a poem opening as enticing as this one from the late Mary Oliver:<\/p>\n<p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=2104\">Why Learn Something That a Machine Can Do for You?<\/a><\/p>\n<div>\n<blockquote>\n<p>I worried a lot. Will the garden grow, will the rivers<\/p>\n<p>flow in the right direction, will the earth turn<\/p>\n<p>as it was taught, and if not how shall<\/p>\n<p>I correct it?<\/p>\n<\/blockquote>\n<\/div>\n<p>Why yes, I <em>have <\/em>worried about that: Will the natural order of things suddenly turn against itself? And what can I, a small, unremarkable being, do to fix it? The poem\u2019s troubles go on to cover aging, illness, regret. And then, with a sigh, it resolves itself. \u201cFinally I saw that worrying had come to nothing. \/ And I gave it up. And took my old body \/ and went out into the morning, \/ and sang.\u201d<\/p>\n<p>Much of Oliver\u2019s now-famed poetry, including \u201cI Worried,\u201d sidles up right next to the reader, assumes a strong kinship, and then doles out a dollop of wisdom that might be interpreted as advice. Oliver rarely commands, but she frequently\u2014especially in her most-shared work\u2014offers statements or questions that read as counsel for the weary. Among many other examples, she slips \u201cinstructions for living a life\u201d inside her poem \u201cSometimes\u201d: \u201c<em>Pay attention. \/ Be astonished. \/ Tell about it.<\/em>\u201d \u201cYou do not have to be good,\u201d begins the oft-quoted \u201cWild Geese.\u201d And there is her more graceful take on YOLO, from \u201cThe Summer Day\u201d: \u201cTell me, what is it you plan to do with your one wild and precious life?\u201d<\/p>\n<p>Prompts such as these turned Oliver from a celebrated scribbler in the 1990s to a lyrical sage in the aughts to today\u2019s still-reigning poet laureate of Pinterest. Her juiciest bits of guidance bounce around on social media like Mel Robbins quotes and are sold on mugs and T-shirts. There\u2019s the burgundy corduroy cap that reads <span>Let the soft animal of your body love what it loves.<\/span> and the bumper sticker (from the official Mary Oliver Shop) emblazoned with <span>Joy is not made to be a crumb<\/span>.<\/p>\n<p>An upcoming PBS documentary, <em>Mary Oliver: Saved by the Beauty of the World<\/em>, knows that popularity has made the artist\u2019s reputation fraught, as popularity often does. It gently considers the question of whether someone so beloved by poetry neophytes can also earn the adulation of the critic class. As the writer Ruth Franklin points out in the film<em>,<\/em> Oliver never received a full-length review from <em>The New York Times<\/em> during her decades-long publishing career, even though that career included a Pulitzer Prize, a Guggenheim Fellowship, and a National Book Award. The attention eventually paid to her work seemed to come with an asterisk, as if to designate it as beloved and therefore depthless. In a 2025 essay titled \u201cIs Mary Oliver Embarrassing?,\u201d the poet Maggie Millner argued that Oliver\u2019s critics have \u201ca discomfort with her work\u2019s digestibility, earnestness, and apparent disinterest in other people\u2014and a fear about what the popularity of such work might say about <em>them<\/em>.\u201d<\/p>\n<p>Then again, what critics of Oliver\u2019s work and celebrity might really fear is that the platitudes have become detached from the poems, that all those feel-good lines aren\u2019t appreciated <em>as<\/em> poetry. The medium has always been delightfully co-opted this way. Even those who rarely touch poetry can probably name a few sayings that initially came from the medium, such as \u201ca thing of beauty is a joy forever\u201d (from Keats) and even \u201cWater, water, everywhere, and not a drop to drink\u201d (a modification of Coleridge). But when a line of poetry zooms off from the rest of its body, it can\u2019t lift up the whole of the genre with it\u2014and poetry, with its quiet place in the literary firmament, would probably like all the boosterism it can get.<\/p>\n<p>The people who have turned Oliver into their patron saint of undecorated wisdom don\u2019t seem to care whether the literary establishment is on board. Some of the reasons for their reverent following? The advice Oliver offers was hard-earned\u2014throughout a difficult childhood and a long struggle to have her poetry widely read\u2014and didn\u2019t come off as self-help opportunism. Her work, much of which is concerned with the natural world she observed on daily walks in Cape Cod, was personal but never self-obsessed. It left a small but meaningful space for the reader to step into.<\/p>\n<p><em>Saved by the Beauty of the World<\/em> provides the broad strokes of Oliver\u2019s life. Raised in Ohio in the 1930s and \u201940s, she grew up in a \u201cvery dark and broken house\u201d where she suffered at the hands of her father; the woods and fields offered escape. She briefly attended Ohio State University and Vassar College, then worked at the poet Edna St. Vincent Millay\u2019s upstate New York home, tried out Greenwich Village, and landed in her 20s in Provincetown, on Cape Cod\u2019s tip, where she stayed almost until the last years of her long life (most of them spent with her partner, the photographer Molly Malone Cook). Oliver\u2019s career didn\u2019t explode until her Pulitzer win, in 1984, when she was 49. Before that, she worked at an military-surplus store and did typing for figures such as Norman Mailer; after, she was sought by rafts of admirers, including readers and the students she taught at various institutions, but maintained a private, almost elusive, existence, granting few interviews.<\/p>\n<p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=2102\">NATO\u2019s Nightmare<\/a><\/p>\n<p>The work Oliver created over five decades isn\u2019t as easily summarized as some of her detractors might say, though it does dwell on a few central themes. There is her earthy imagery\u2014the song of the wren, the \u201cgladness\u201d of the beeches and the oaks and the pines, the glory of an August day. She is a high priestess of the ordinary\u2014not someone who revels in trips to the dentist or afternoons spent giving kids lice treatments, but in finding grace in the fact that life is made of simple moments. The umbrella hanging over all of her writing is her penchant for observing and absorbing\u2014as she puts it so perfectly, \u201cattention is the beginning of devotion\u201d\u2014and her encouragement of her readers to do the same. The poetry is an attempt to ask, over and over, <em>What am I supposed to do?<\/em> It\u2019s also, sometimes, an answer to that question.<\/p>\n<p>Advice isn\u2019t hard to come by these days: Fit-looking 40-something Instagrammers tell you how to slim down your middle-aged body; columns on manners and ethics or other interpersonal quandaries fill every big-name magazine and newspaper. And yet there is an (often unspoken) assertion that poetry ought not to give advice, that it should exult in the ambiguous. Poetry, perhaps more than any other writing genre, is unfairly assigned a value that is in direct opposition to its usefulness.<\/p>\n<p>In an essay about <em>O, the Oprah Magazine<\/em>\u2019s poetry issue, the critic David Orr snidely remarked of Oliver\u2019s poetry, \u201cOne can only say that no animals appear to have been harmed in the making of it\u201d; he also declared, \u201cThere\u2019s a bunch of talk about using poetry to overcome personal challenges (if it worked as self-help, you\u2019d see more poets driving BMWs).\u201d But poetry, like any other writing, <em>is<\/em> allowed to work toward a goal\u2014so long as it doesn\u2019t lose its structural integrity. Perhaps the problem isn\u2019t that poetry fails to help one overcome challenges, but that its reputation doesn\u2019t give it enough credit for that very thing. (If it did, Ada Lim\u00f3n and Kate Baer might have Z4 Roadsters of their own.)<\/p>\n<p>Even after allowing that poetry can of course offer advice, the question of whether Oliver\u2019s advice is any good is worth debating. I quibble with her notion that one could easily give up worrying: SSRI-usage rates are too high for that to feel possible. And I wonder what she means, exactly, by \u201cgood\u201d when she says, \u201cYou do not have to be good,\u201d in \u201cWild Geese\u201d\u2014her next line likens it to walking \u201con your knees for a hundred miles through the desert repenting,\u201d but surely the matter of goodness involves a more complicated definition than just self-flagellation. Other lines seem so undoubtedly true that it\u2019s no wonder they\u2019ve ended up on apparel. She ends her poem \u201cWhen Death Comes\u201d with, \u201cI don\u2019t want to end up simply having visited this world.\u201d Do any of us? If poetry is, at least partly, the art of minute observation, Oliver\u2019s work might come off as trite when it expounds so universally.<\/p>\n<p>The claim her friends and admirers make in <em>Saved by the Beauty of the World<\/em> is that none of this was straightforward for Oliver, either. She wasn\u2019t some sage from on high but a flesh-and-blood woman who struggled through heartache and counted her dollars and was occasionally, as her friend John Waters puts it, a \u201cshit-stirrer.\u201d Oliver professed herself an admirer of Walt Whitman, but the documentary suggests that she may have been more like his contemporary (and poetic opposite) Emily Dickinson\u2014a woman who set herself apart from the world in order to make better sense of it on paper.<\/p>\n<p>Oliver\u2019s poetry was not an act of ease; instead, she rebelled against the way that life presses our head down, away from the wonders of the world. Her advice, for all of its lucidity, is not uncomplicated or effortless. It\u2019s to do something so difficult that most people don\u2019t even attempt it: to notice when we\u2019ve wandered away from how we want to live and to nudge ourselves back. \u201cThere are things you cannot reach. But,\u201d she writes, \u201cyou can reach out to them, and all day long.\u201d And for that, I\u2019m grateful to have Mary Oliver\u2019s words floating around my Pinterest page. I\u2019d rather live the questioning life of an Oliver acolyte than the certain life of her critics.<\/p>\n<p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=2100\">The Wrong Kind of American<\/a><\/p>\n<\/section>\n","protected":false},"excerpt":{"rendered":"<p>In defense of Mary Oliver<\/p>\n","protected":false},"author":1,"featured_media":2105,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-2106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Poet Laureate of Pinterest - Commercial Relocation Pros<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/commercialrelocationpros.com\/?p=2106\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Poet Laureate of Pinterest - 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