On this page, you’ll find a list of Mary Oliver’s books of poetry and prose. Poetry books are listed first, with UK editions at the bottom of the list. Books of prose are listed second.
“Joy is not made to be a crumb,” writes Mary Oliver, and certainly joy abounds in her new book of poetry and prose poems. Swan, her twentieth volume, shows us that, though we may be “made out of the dust of stars,” we are of the world she captures here so vividly: the acorn that hides within it an entire tree; the wings of the swan like the stretching light of the river; the frogs singing in the shallows; the mockingbird dancing in air.
At its heart, Blue Horses asks what it means to truly belong to this world, to live in it attuned to all its changes. Humorous, gentle, and always honest, Oliver is a visionary of the natural world.
A New York Times bestselling collection of new and favorite poems,
celebrating the dogs that have enriched the poet’s world.
In A Thousand Mornings, Mary Oliver returns to the imagery that has come to define her life’s work, transporting us to the marshland and coastline of her beloved home, Provincetown, Massachusetts.
Dream Work, a collection of forty-five poems, follows both chronologically and logically Mary Oliver’s American Primitive, which won her the Pulitzer Prize for the finest book of poetry published in 1983 by an American poet. The depth and diversity of perceptual awareness—so steadfast and radiant in American Primitive—continue in Dream Work.
Following the success of At Blackwater Pond, this second CD from best-selling poet Mary Oliver contains a selection of thirty-eight previously published poems and four as yet uncollected, read by the poet in her steady, magnetic voice.
Inspired by the familiar lines from William Wordsworth, “To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears,” Evidence is a collection of forty-seven new poems on all of Mary Oliver’s classic themes. She writes perceptively about grief and mortality, love and nature, and the spiritual sustenance she draws from their gifts.
This collection of sixty-one new poems, the most ever in a single volume of Oliver’s work, includes an entirely new direction in the poet’s work: a cycle of eleven linked love poems—a dazzling achievement. As in all of Mary Oliver’s work, the pages overflow with her keen observation of the natural world and her gratitude for its gifts, for the many people she has loved in her seventy years, as well as for her disobedient dog, Percy.
From a poet who teaches us the beauty and magic of the natural world comes a reminder that this world includes “the creatures, with their / thick fur, their shy and wordless gaze. Their / infallible sense of what their lives / are meant to be.”
New and Selected Poems, Volume Two, an anthology of forty-two new poems—an entire volume in itself—and sixty-nine poems hand-picked by Mary Oliver from six of her last eight books, is a major addition to a career in poetry that has spanned nearly five decades. Now recognized as an unparalleled poet of the natural world, Mary Oliver writes with unmatched dexterity and a profound appreciation for the divergence and convergence of all living things.
In this beautifully produced compact disc, Mary Oliver has recorded forty of her favorite poems, nearly spanning the length of her career, from Dream Work through New and Selected Poems, Volume Two. The package is shrink-wrapped so that the elegant clothbound audiobook can takes its place on the poetry shelf. It also includes a fifteen-page booklet with an original essay, “Performance Note,” photos of the author at Blackwater Pond, and a full listing of the poems and their sources.
Thirst, a collection of forty-three poems, introduces two new directions in Oliver’s work. Grappling with grief at the death of her beloved partner of over forty years, she strives to experience sorrow as a path to spiritual progress, grief as part of loving and not its end. And within these pages she chronicles for the first time her discovery of faith, without abandoning the love of the physical world that has been a hallmark of her work for four decades.
In Blue Iris, Mary Oliver collects ten new poems, two dozen of her poems written over the last two decades, and two previously unpublished essays on the beauty and wonder of plants. The poet considers roses, of course, as well as poppies and peonies; lilies and morning glories; the thick-bodied black oak and the fragrant white pine; the tall sunflower and the slender bean.
Mary Oliver has been writing poetry for nearly five decades, and in that time she has become America’s foremost poetic voice on our experience of the physical world. This collection presents forty-seven poems, each exhibiting the power and grace that have become the hallmarks of Oliver’s work.
Within these pages Mary Oliver collects twenty-six of her poems about the birds that have been such an important part of her life-hawks, hummingbirds, and herons; kingfishers, catbirds, and crows; swans, swallows, and, of course, the snowy owl and ten poems original to this volume.
“Mary Oliver’s poetry is fine and deep; it reads like a blessing,” wrote Stanley Kunitz many years ago; and recently, Rita Dove described her last volume, The Leaf and the Cloud, as “a brilliant meditation.” For the many admirers of Mary Oliver’s dazzling poetry and luminous vision, as well as for those who may be coming to her work for the first time, What Do We Know will be a revelation.
With piercing clarity and craftsmanship, Mary Oliver has fashioned an unforgettable, book-length poem of questioning and discovery, about what is observable and what is not, about what passes and what persists. As the Miami Herald said: “The gift of Oliver’s poetry is that she communicates the beauty she finds in the world and makes it unforgettable.”
The New York Times has called Oliver’s poems “thoroughly convincing—as genuine, moving, and implausible as the first caressing breeze of spring.” In this stunning collection of forty poems she writes of nature and love, of the way they transform over time. And the way they remain constant. To quote Library Journal: “From the chaos of the world, her poems distill what it means to be human and what is worthwhile about life.”
“In her first collection since the National Book Award-winning New and Selected Poems, Oliver writes of the silky bonds between every person and the natural world, of the delight of writing, of the value of silence. “Her special gift is to connect us with our sources in the natural world, its beauties and terrors and mysteries and consolations.” —Stanley Kunitz
When New and Selected Poems, Volume One was originally published in 1992, Mary Oliver was awarded the National Book Award. In the years since its initial appearance it has become one of the best-selling volumes of poetry in the country. This collection features thirty poems published for the first time in this volume, as well as selections from the poet’s first eight books.
This collection of poems by Mary Oliver once again invites the reader to step across the threshold of ordinary life into a world of natural and spiritual luminosity.
“Oliver’s poems are thoroughly convincing—as genuine, moving, and implausible as the first caressing breeze of spring.” —New York Times Book Review
The fifty poems in American Primitive make up a body of luminous unity. Mary Oliver’s visionary poems enunciate the renewals of nature and the renewals of humanity in love, in oneness with the natural, in union with the things of this world.
In her fourth volume of poetry, Twelve Moons, Pulitzer Prize-winning poet Mary Oliver continues to explore the alluring, yet well-nigh inaccessible kingdoms of nature and human relationships, and man’s profound, persistent desire for a joyous union with them. These vibrant, magical poems pulse with an aching awareness of nature’s unaffected beauty. Her absorbing intimate vision leads us into the natural and human kingdoms we only fleetingly grasp.
The River Styx, Ohio, and Other Poems is currently unavailable.
No Voyage and Other Poems is currently unavailable.
In her latest collection, Evidence, Mary Oliver delves even deeper than she has in the past into the mysteries of life, love and death. Exploring the evidence presented to us daily by the natural world, Oliver offers poems of arresting beauty and insight, inspired by Wordsworth’s lines: ‘To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears.’
Thirst introduces two new directions in her work. Grappling with grief at the death of her beloved partner of over forty years, she strives to experience sorrow as a path to spiritual progress, grief as part of loving and not its end. And in Thirst Mary Oliver chronicles for the first time her discovery of faith, without abandoning the love of the physical world that has been a hallmark of her work for four decades.
Red Bird is Mary Oliver’s most wide-ranging collection to date, and includes her first-ever cycle of love poems. As in all her books, there are poems on the natural world and her gratitude for its gifts, as well as tributes to the many people she has loved in her seventy years, and poems for her disobedient dog, Percy. But here her attention turns also with ferocity to the degradation of the Earth and the denigration of the downtrodden by the powerful.
Swan, her twentieth volume, shows that, while we may be ‘made out of the dust of stars’, we are of the world she captures here so vividly: the acorn that hides within it an entire tree; the wings of the swan like the stretching light of the river; the frogs singing in the shallows; the mockingbird dancing in air. Swan is Oliver’s tribute to ‘the mortal way’ of desiring and living in the world, to which the poet is renowned for having always been ‘totally loyal’.
Mary Oliver is hugely popular in the States, where her many collections have sold hundreds of thousands of copies, but Wild Geese is her first book to be published in Britain for over 40 years.
Molly Malone Cook, who died in 2005, was Oliver’s partner for many years, a pioneer gallery owner and photographer. Our World weaves forty-nine of Cook’s photographs and selections from her journals with Oliver’s extended writings, both reminiscence and reflection, in prose and in poetry. The result is an intimate revelation of their lives and art.
A dazzling new collection of essays, poems, and prose poems by the best-selling author of The Leaf and the Cloud and What Do We Know.
“What good company Mary Oliver is!” the Los Angeles Times has remarked. And never more so than in this extraordinary and engaging gathering of nine essays, accompanied by a brief selection of new prose poems and poems.
“True ease in writing comes from art, not chance, / As those move easiest who have learn’d to dance,” wrote Alexander Pope. “The dance,” in the case of Oliver’s brief and luminous book, refers to the interwoven pleasures of sound and sense to be found in some of the most celebrated and beautiful poems in the English language, from Shakespeare to Edna St. Vincent Millay to Robert Frost.
With consummate craftsmanship, Mary Oliver, a Pulitzer Prize and National Book Award-winning author, has fashioned fifteen luminous prose pieces, ten never before published, which should be of singular interest to lovers of nature, students of writing, and the many admirers of her work.
With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built—meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, the Pulitzer Prize and National Book Award winner imparts an extraordinary amount of information in a short space.
“One of the astonishing aspects of Oliver’s work is the consistency of tone over this long period [of her career]. What changes is an increased focus on nature and an increased precision with language that has made her one of our very best poets . . . There is no complaint in Ms. Oliver’s poetry, no whining, but neither is there the sense that life is in any way easy . . . These poems sustain us rather than divert us. Although few poets have fewer human beings in their poems than Mary Oliver, it is ironic that few poets also go so far to help us forward.”
—Stephen Dobyns, New York Times Book Review