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How fine is the mesh of death. You can almost see through it.
Jane Hirshfield
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Jane Hirshfield
Age: 71
Born: 1953
Born: February 24
Climate Activist
Essayist
Linguist
Poet
Translator
Writer
Manhattan borough
New York City
Mesh
Fine
Almost
Death
More quotes by Jane Hirshfield
This garden is no metaphor - more a task that swallows you into itself, earth using, as always, everything it can.
Jane Hirshfield
The trick, though, is to not lose compassion, to not allow the sense of absurdity to outweigh the awareness of real beings, with real feelings. Mean-spirited humor turns the world into cardboard, the way Midas's simple-minded greed turned food into inedible and useless stuff.
Jane Hirshfield
At another level, though, poems can craft an eraser - we can't revise the past, but poems allow us some malleability, an increased freedom of response, comprehension, feeling. Choice, what choices are possible for any given person, is another theme that's run through my work from the start.
Jane Hirshfield
Poems' deep work is a matter of language, but also a matter of life. One part of that work is to draw into our awareness and into language itself the unobvious and the unexpected.
Jane Hirshfield
The pressed oil of words can blaze up into music, into image, into the heart and mind's knowledge. The lit and shadowed places within us can be warmed.
Jane Hirshfield
Poems offer us counter-knowledges. They let us see what is invisible to ordinary looking, and to find in overlooked corners the opulence of our actual lives. Similarly, we usually spend our waking hours trying to be sure of things - of our decisions, our ideas, our choices. We so want to be right. But we walk by right foot and left foot.
Jane Hirshfield
The ability to name poetry's gestures and rhetorics isn't required to write or read them, any more than a painter needs to know the physics of color to bring forward a landscape. The eye and hand and ear know what they need to know. Some of us want to know more, because knowing pleases.
Jane Hirshfield
The writing of an assay-type poem or a poem investigating perspective isn't an exercise of rational or strategic mind. Poems for me are acts of small or large desperation. They grapple with surfaces too steep to walk in any other way, yet which have to be traveled.
Jane Hirshfield
Leave a door open long enough, a cat will enter. Leave food, it will stay.
Jane Hirshfield
History, mythology, and folktales are filled with stories of people punished for saying the truth. Only the Fool, exempt from society's rules, is allowed to speak with complete freedom.
Jane Hirshfield
as some strings, untouched, sound when no one is speaking. So it was when love slipped inside us.
Jane Hirshfield
Zen pretty much comes down to three things -- everything changes everything is connected pay attention.
Jane Hirshfield
It's one of the saving graces in a life, to be able to perceive one's own and others' absurdity, to notice our shared human frailties and be able, at least some of the time, to smile rather than grimace. Like most people, I must have started out with a comic worldview in my cupboard.
Jane Hirshfield
A studio, like a poem, is an intimacy and a freedom you can look out from, into each part of your life and a little beyond.
Jane Hirshfield
The heft of a life in the hands grows both lighter and weightier. Over time, my life has become more saturated with its shape and made-ness, while my poems have become more and more free. The first word of every poem might be Yes. The next words: And then.
Jane Hirshfield
Metaphors think with the imagination and the senses. The hot chili peppers in them explode in the mouth and the mind.
Jane Hirshfield
Any woodthrush shows it - he sings, not to fill the world, but because he is filled.
Jane Hirshfield
Within the silence, expansion, and sustained day by day concentration, I grow permeable.
Jane Hirshfield
Zen taught me how to pay attention, how to delve, how to question and enter, how to stay with -- or at least want to try to stay with -- whatever is going on.
Jane Hirshfield
Good poems ask us to have complex minds and hearts. Even simple-of-surface poems want that. Perhaps those are the ones that want it most of all, since that's where they do their work: in the unspoken complexities, understood off the page.
Jane Hirshfield