The Poetry Of Louise Gl Ck

Winner of the 2014 National Book Award for Poetry A luminous, seductive new collection from the "fearless" (The New York Times) Pulitzer Prize–winning poet Louise Glück is one of the finest American poets at work today. Her Poems 1962–2012 was hailed as "a major event in this country's literature" in the pages of The New York Times. Every new collection is at once a deepening and a revelation. Faithful and Virtuous Night is no exception. You enter the world of this spellbinding book through one of its many dreamlike portals, and each time you enter it's the same place but it has been arranged differently. You were a woman. You were a man. This is a story of adventure, an encounter with the unknown, a knight's undaunted journey into the kingdom of death; this is a story of the world you've always known, that first primer where "on page three a dog appeared, on page five a ball" and every familiar facet has been made to shimmer like the contours of a dream, "the dog float[ing] into the sky to join the ball." Faithful and Virtuous Night tells a single story but the parts are mutable, the great sweep of its narrative mysterious and fateful, heartbreaking and charged with wonder.

The dazzling new collection from the winner of the 2020 Nobel Prize in Literature. Louise Glück's work consistently draws on her own experience, looking for the common threads in it that render it universal. Her poems are not confessional, they are mythic. In Winter Recipes from the Collective, she starts with the dying and death of a near relation to create an indelible group of characters who act in poems that touch on the family romance, loss, art, and immortality. Her poems are so powerful because her portrayal of experience reminds us so trenchantly of what we recognize we too have seen and felt.

A dominant figure in American poetry for more than thirty-five years, Louise Glück has been the recipient of virtually every major poetry award. She won the Nobel Prize in Literature in 2020 and was named U.S. poet laureate for 2003–2004. In a full-length study of her work, Daniel Morris explores how this prolific poet utilizes masks of characters from history, the Bible, and even fairy tales. Morris treats Glück’s persistent themes—desire, hunger, trauma, survival—through close reading of her major book-length sequences from the 1990s: Ararat, Meadowlands, and The Wild Iris. An additional chapter devoted to The House on Marshland (1975) shows how its revision of Romanticism and nature poetry anticipated these later works. Seeing Glück’s poems as complex analyses of the authorial self via sustained central metaphors, Morris reads her poetry against a narrative pattern that shifts from the tones of anger, despair, and resentment found in her early Firstborn to the resignation of Ararat—and proceeds in her latest volumes, including Vita Nova and Averno, toward an ambivalent embrace of embodied life. By showing how Glück’s poems may be read as a form of commentary on the meanings of great literature and myth, Morris emphasizes her irreverent attitude toward the canons through which she both expresses herself and deflects her autobiographical impulse. By discussing her sense of self, of Judaism, and of the poetic tradition, he explores her position as a mystic poet with an ambivalent relationship to religious discourse verging on Gnosticism, with tendencies toward the ancient rabbinic midrash tradition of reading scripture. He particularly shows how her creative reading of past poets expresses her vision of Judaism as a way of thinking about canonical texts. The Poetry of Louise Glück is a quintessential study of how poems may be read as a form of commentary on the meanings of great literature and myth. It clearly demonstrates that, through this lens of commentary, one can grasp more firmly the very idea of poetry itself that Glück has spent her career both defining and extending.

Winner of the Nobel Prize in Literature Winner of the Pulitzer Prize From Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realms Bound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.

WINNER OF THE NOBEL PRIZE IN LITERATURE A dreamlike collection from the Nobel Prize-winning poet A Village Life, Louise Glück's eleventh collection of poems, begins in the topography of a village, a Mediterranean world of no definite moment or place: All the roads in the village unite at the fountain. Avenue of Liberty, Avenue of the Acacia Trees— The fountain rises at the center of the plaza; on sunny days, rainbows in the piss of the cherub. —from "tributaries" Around the fountain are concentric circles of figures, organized by age and in degrees of distance: fields, a river, and, like the fountain's opposite, a mountain. Human time superimposed on geologic time, all taken in at a glance, without any undue sensation of speed. Glück has been known as a lyrical and dramatic poet; since Ararat, she has shaped her austere intensities into book-length sequences. Here, for the first time, she speaks as "the type of describing, supervising intelligence found in novels rather than poetry," as Langdon Hammer has written of her long lines—expansive, fluent, and full—manifesting a calm omniscience. While Glück's manner is novelistic, she focuses not on action but on pauses and intervals, moments of suspension (rather than suspense), in a dreamlike present tense in which poetic speculation and reflection are possible.

The collected works of the inimitable Pulitzer Prize–winning poet It is the astonishment of Louise Glück's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape—Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain—persistently emerge and reappear with the dark energy of the inevitable, shot through with the bright aspect of things new-made. From the outset ("Come here / Come here, little one"), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "do not see the intervening fathoms." From within the earth's bitter disgrace, coldness and barrenness my friend the moon rises: she is beautiful tonight, but when is she not beautiful? To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

Winner of the Nobel Prize in Literature Proofs and Theories, winner of the PEN/Martha Albrand Award for First Non-Fiction, is an illuminating collection of essays by Louise Glück, one of this country's most brilliant poets. Like her poems, the prose of Glück, who won the Pulitzer Prize for poetry in 1993 for The Wild Iris, is compressed, fastidious, fierce, alert, and absolutely unconsoled. The force of her thought is evident everywhere in these essays, from her explorations of other poets' work to her skeptical contemplation of current literary critical notions such as "sincerity" and "courage." Here also are Glück's revealing reflections on her own education and life as a poet, and a tribute to her teacher and mentor, Stanley Kunitz. Proofs and Theories is not a casual collection. It is the testament of a major poet.

Contains six poems written by Louise Glück that explore the season of autumn.