Every contemporary theological interpreter must come to terms with the fact that every interpretation is local and informed by context. Every interpretation carries with it some ideological marking because no interpretation is, finally, disinterested.
The work of Mary Oliver is one of those rare and lovely convergences. She is a lyric artist with a riveted eye and an enormous heart, one of the nation’s great spiritual sentinels. She was also graced for more than 40 years with the love of her life, the late photographer Molly Malone Cook.
A lengthy prepublication excerpt in the New York Times Magazine, quotations on the back cover from famous scholars using descriptions like “profound,” “elegant and erudite” and “landmark in political philosophy”—short of selection for Oprah’s Book Club, it is hard to imagine how a book could come trailing more clo