In her collection "Incarnate Grace," poet Moira Linehan explores,
questions, and ultimately celebrates her attempt to live in the
temple of the present. After learning she has breast can cer, the
poet struggles to live an exam ined life. Alienated and estranged
from her own body, she turns her cancer into "these binoculars, /
this new way of looking," and uses it as a way of fix ing herself
firmly within the moment. As she travels Ireland and the Pacific
Northwest, her busy mind moves from the knot in her breast to the
knots in her knitting to the illuminated knots of The Book of Kells
to the tossing, knotted surface of the sea; from the margins of her
surgery-clean but not ideal-to the margins of illuminated
manuscripts. She links the mundane to the mythic, intertwining
connections between scripture and nature, storms and loss, winter
and light, breast cancer and em broidery. As she returns to her
home on a small pond in Massachusetts, she takes with her the
fruits of her travels: incarnate grace of the ordinary. Vivid and
compelling, Incarnate Grace finds beauty in the worst of cir
cumstances and redemption in the fab ric of daily life
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