Louise Glück - Böcker

För Vild iris belönades Louise Glück med Pulitzerpriset och det är en diktsamling som är tydlig i sin visionära poetik, uppdelad i tre delar och tre röster: trädgårdens blommor, den poetiska trädgårdsmästaren och trädgårdens allvetande metafysiska gud. Alla med direkta och krävande röster som fruktar döden såväl som livet och dess förgänglighet.

Blommorna fokuserar på vårens ankomst efter vinterns kalla nätter och för trädgårdsmästaren blir skötseln ett sätt att undvika en haltande relation. Rösterna blir till en blick ner i våra egna inre djup och brottas med förtvivlan, döden, återfödsel och ensamhet.

Louise Glück är en av den amerikanska lyrikens mest beundrade och inflytelserika poeter som 2020 belönades med Tomas Tranströmer-priset samt Nobelpriset med motiveringen: "för hennes omisskännliga poetiska röst, som med sträng skönhet gör den enskilda människans existens universell."

Ararat kan vara den mest brutala och sorgefyllda amerikanska diktsamling som utkommit det senaste halvseklet. Självbekännande, vild och själsligt fulländad.

Pulitzerprisade och 2020 års Nobelprisvinnare Louise Gluck går med förödande ironi och hänsynslöshet i klinch med familjen; en död syster, en mor oförmögen att visa känslor, en bortgången fars tomma liv och hur känslorna inför de egna barnen inte motsvarar det som förväntats.

En lika stenhård som djup och ömsint vacker diktsamling av en av den amerikanska samtidspoesins allra största, eller som New York Times uttryckt det, hennes egen Blood on the Tracks .

Winner of the Nobel Prize in Literature

In Vita Nova, Pulitzer-Prize winning poet Louise Glck manages the apparently impossible: a terrifying act of perspective that brings into resolution the smallest human hope and the vast forces that shape and thwart it.

SinceAraratin 1990, Louise Glck has been exploring a form that is, according to the poet, Robert Hass, her invention.Vita Nova--like its immediate predecessors, a booklength sequence--combines the ecstatic utterance ofThe Wild Iriswith the worldly dramas elaborated inMeadowlands. Vita Novais a book that exists in the long moment of spring: a book of deaths and beginnings, resignation and hope; brutal, luminous, and far-seeing.

Like late Yeats,Vita Novadares large statement. By turns stern interlocutor and ardent novitiate, Glck compasses the essential human paradox.

InVita Nova,Louise Glck manages the apparently impossible: a terrifying act of perspective that brings into resolution the smallest human hope and the vast forces that thwart and shape it.

Averno is a small crater lake in southern Italy, regarded by the ancient Romans as the entrance to the underworld. That place gives its name to Louise Glück's tenth collection: in a landscape turned irretrievably to winter, it is a gate or passageway that invites traffic between worlds while at the same time resisting their reconciliation. Averno is an extended lamentation, its long, restless poems no less spellbinding for being without conventional resoltution or consolation, no less ravishing for being savage, grief-stricken. What Averno provides is not a map to a point of arrival or departure, but a diagram of where we are, the harrowing, enduring present. Averno is a 2006 National Book Award Finalist for Poetry.

A Village Life, Louise Gluck'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. Gluck 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 Gluck'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.

A luminous collection of essays from one of our most original and influential poets Five decades after her debut poetry collection, Firstborn, Louise Glück is a towering figure in American letters. Written with the same probing, analytic control that has long distinguished her poetry, American Originality is Glück's second book of essays--her first, Proofs and Theories, won the 1993 PEN/Martha Albrand Award for First Nonfiction. Glück's moving and disabusing lyricism is on full display in this decisive new collection. From its opening pages, American Originality forces readers to consider contemporary poetry and its demigods in radical, unconsoling, and ultimately very productive ways. Determined to wrest ample, often contradictory meaning from our current literary discourse, Glück comprehends and destabilizes notions of "narcissism" and "genius" that are unique to the American literary climate. This includes erudite analyses of the poets who have interested her throughout her own career, such as Rilke, Pinsky, Chiasson, and Dobyns, and introductions to the first books of poets like Dana Levin, Peter Streckfus, Spencer Reece, and Richard Siken. Forceful, revealing, challenging, and instructive, American Originality is a seminal critical achievement.

WINNER OF THE NOBEL PRIZE IN LITERATURE A haunting new book by a poet whose voice speaks of all our lifetimes

Louise Glück's thirteenth book is among her most haunting. Here as in the Wild Iris there is a chorus, but the speakers are entirely human, simultaneously spectral and ancient. Winter Recipes from the Collective is chamber music, an invitation into that privileged realm small enough for the individual instrument to make itself heard, dolente, its line sustained, carried, and then taken up by the next instrument, spirited, animoso, while at the same time being large enough to contain a whole lifetime, the inconceivable gifts and losses of old age, the little princesses rattling in the back of a car, an abandoned passport, the ingredients of an invigorating winter sandwich, a sister's death, the joyful presence of the sun, its brightness measured by the darkness it casts.

"Some of you will know what I mean," the poet says, by which she means, some of you will follow me. Hers is the sustaining presence, the voice containing all our lifetimes, "all the worlds, each more beautiful than the last." This magnificent book couldn't have been written by anyone else, nor could it have been written by the poet at any other time in her life.

Winner of the Nobel Prize in Literature 

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. 

Articulates the familial relationships between man, woman, and child, exploring Circe and Penelope and emotional psychodramas in poetry that is both chastened and spiritual.