All Hallows
Even now this landscape is assembling.
The hills darken. The oxen
sleep in their blue yoke,
the fields having been
picked clean, the sheaves
bound evenly and piled at the roadside
among cinquefoil, as the toothed moon rises:
This is the barrenness
of harvest or pestilence.
And the wife leaning out the window
with her hand extended, as in payment,
and the seeds
distinct, gold, calling
Come here
Come here, little one
And the soul creeps out of the tree.
"All Hallows" from The First Four Books of Poems by Louise Gluck. Copyright © 1968, 1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1985, 1995 by Louise Glück. Reprinted by permission of HarperCollins Publishers.
Source: The First Four Books of Poems (The Ecco Press, 1995)
* * * * * * * *
Aboriginal Landscape
You’re stepping on your father, my mother said,
and indeed I was standing exactly in the center
of a bed of grass, mown so neatly it could have been
my father’s grave, although there was no stone saying so.
You’re stepping on your father, she repeated,
louder this time, which began to be strange to me,
since she was dead herself; even the doctor had admitted it.
I moved slightly to the side, to where
my father ended and my mother began.
The cemetery was silent. Wind blew through the trees;
I could hear, very faintly, sounds of weeping several rows away,
and beyond that, a dog wailing.
At length these sounds abated. It crossed my mind
I had no memory of being driven here,
to what now seemed a cemetery, though it could have been
a cemetery in my mind only; perhaps it was a park, or if not a park,
a garden or bower, perfumed, I now realized, with the scent of roses —
douceur de vivre filling the air, the sweetness of living,
as the saying goes. At some point,
it occurred to me I was alone.
Where had the others gone,
my cousins and sister, Caitlin and Abigail?
By now the light was fading. Where was the car
waiting to take us home?
I then began seeking for some alternative. I felt
an impatience growing in me, approaching, I would say, anxiety.
Finally, in the distance, I made out a small train,
stopped, it seemed, behind some foliage, the conductor
lingering against a doorframe, smoking a cigarette.
Do not forget me, I cried, running now
over many plots, many mothers and fathers —
Do not forget me, I cried, when at last I reached him.
Madam, he said, pointing to the tracks,
surely you realize this is the end, the tracks do not go further.
His words were harsh, and yet his eyes were kind;
this encouraged me to press my case harder.
But they go back, I said, and I remarked
their sturdiness, as though they had many such returns ahead of them.
You know, he said, our work is difficult: we confront
much sorrow and disappointment.
He gazed at me with increasing frankness.
I was like you once, he added, in love with turbulence.
Now I spoke as to an old friend:
What of you, I said, since he was free to leave,
have you no wish to go home,
to see the city again?
This is my home, he said.
The city — the city is where I disappear.
* * * * * * * *
 |
| Cavan Images/Taxi/Getty Images |
Afterword
Reading what I have just written, I now believe
I stopped precipitously, so that my story seems to have been
slightly distorted, ending, as it did, not abruptly
but in a kind of artificial mist of the sort
sprayed onto stages to allow for difficult set changes.
Why did I stop? Did some instinct
discern a shape, the artist in me
intervening to stop traffic, as it were?
A shape. Or fate, as the poets say,
intuited in those few long ago hours—
I must have thought so once.
And yet I dislike the term
which seems to me a crutch, a phase,
the adolescence of the mind, perhaps—
Still, it was a term I used myself,
frequently to explain my failures.
Fate, destiny, whose designs and warnings
now seem to me simply
local symmetries, metonymic
baubles within immense confusion—
Chaos was what I saw.
My brush froze—I could not paint it.
Darkness, silence: that was the feeling.
What did we call it then?
A “crisis of vision” corresponding, I believed,
to the tree that confronted my parents,
but whereas they were forced
forward into the obstacle,
I retreated or fled—
Mist covered the stage (my life).
Characters came and went, costumes were changed,
my brush hand moved side to side
far from the canvas,
side to side, like a windshield wiper.
Surely this was the desert, the dark night.
(In reality, a crowded street in London,
the tourists waving their colored maps.)
One speaks a word: I.
Out of this stream
the great forms—
I took a deep breath. And it came to me
the person who drew that breath
was not the person in my story, his childish hand
confidently wielding the crayon—
Had I been that person? A child but also
an explorer to whom the path is suddenly clear, for whom
the vegetation parts—
And beyond, no longer screened from view, that exalted
solitude Kant perhaps experienced
on his way to the bridges—
(We share a birthday.)
Outside, the festive streets
were strung, in late January, with exhausted Christmas lights.
A woman leaned against her lover’s shoulder
singing Jacques Brel in her thin soprano—
Bravo! the door is shut.
Now nothing escapes, nothing enters—
I hadn’t moved. I felt the desert
stretching ahead, stretching (it now seems)
on all sides, shifting as I speak,
so that I was constantly
face to face with blankness, that
stepchild of the sublime,
which, it turns out,
has been both my subject and my medium.
What would my twin have said, had my thoughts
reached him?
Perhaps he would have said
in my case there was no obstacle (for the sake of argument)
after which I would have been
referred to religion, the cemetery where
questions of faith are answered.
The mist had cleared. The empty canvases
were turned inward against the wall.
The little cat is dead (so the song went).
Shall I be raised from death, the spirit asks.
And the sun says yes.
And the desert answers
your voice is sand scattered in wind.
* * * * * * * *
All Poems by Louise Glück
* * * * * * * *
Louise Glück
Louise Elisabeth Glück (/ɡlɪk/;[1][2] born April 22, 1943) is an American poet and essayist. She has won numerous major literary awards, including the Pulitzer Prize, National Humanities Medal, National Book Award, National Book Critics Circle Award, and the Bollingen Prize. From 2003 to 2004, she was Poet Laureate of the United States. In 2020, she was awarded the Nobel Prize in Literature "for her unmistakable poetic voice that with austere beauty makes individual existence universal".
Glück is often described as an autobiographical poet; her work is known for its emotional intensity and for frequently drawing on myth, history, or nature to meditate on personal experiences and modern life. She was born in New York City and raised on Long Island. She began to suffer from anorexia nervosa while in high school and later overcame the illness. She attended Sarah Lawrence College and Columbia University but did not obtain a degree. In addition to being an author, she has taught poetry at several academic institutions.
In her work, Glück has focused on illuminating aspects of trauma, desire, and nature. In exploring these broad themes, her poetry has become known for its frank expressions of sadness and isolation. Scholars have also focused on her construction of poetic personas and the relationship, in her poems, between autobiography and classical myth.
Glück is an adjunct professor and Rosenkranz Writer in Residence at Yale University. She lives in Cambridge, Massachusetts.
* * * * * * * *
American Poet Louise Glück Wins Nobel Literature Prize
The New York-born poet is a faculty member at Yale University.
by Associated Press, News Partner
Updated Oct 8, 2020 12:19 pm ET
NEW YORK CITY — American poet Louise Glück won the Nobel Prize in Literature on Thursday for her "candid and uncompromising" work, which looks unflinchingly and with biting humor at the losses and traumas of family life.
She joins a handful of American poets who have received the prize, which has been dominated by novelists throughout its 112-year history. The last American to win was Bob Dylan in 2016.
She is also one of the few women — the 16th female Nobel Literature laureate.
The Nobel Committee praised Glück "for her unmistakable poetic voice that with austere beauty makes individual existence universal" in the citation read during the announcement in Stockholm by Mats Malm, the permanent secretary of the Swedish Academy.
 |
Louise Glück, with President Obama, has won
the Nobel Prize in Literature | AP Photo/Carolyn Kaster |
New York-born Glück, 77, who is a faculty member at Yale University, made her debut in 1968 with "Firstborn," and "was soon acclaimed as one of the most prominent poets in American contemporary literature," the committee said.
Anders Olsson, chairman of the Nobel literature committee, said Glück's 12 collections of poetry were "characterized by striving for clarity." They include "Descending Figure," "The Triumph of Achilles" and "Ararat."
Olsson said her verses, which often draw on classical influences and examine family life, were marked by an "austere but also playful intelligence and a refined sense of composition."
Raised in a family with Hungarian Jewish origins, Glück has spoken of how a teenage struggle with anorexia, and the therapy she received for it, influenced her incisive writing. She was attending George W. Hewlett High School in Hewlett at the time.
"Louise Glück's voice is unmistakable. It is candid and uncompromising, and it signals that this poet wants to be understood. But it is also voice full of humor and biting wit," Olsson said. "This is a great resource when Glück treats one of our great topics, radical change, where the leap forward is made from a deep sense of loss."
The committee noted her 2006 collection "Averno," calling it "masterly" and "a visionary interpretation of the myth of Persephone's descent into hell in the captivity of Hades, the god of death."
Glück is the recipient of many awards, including Guggenheim and National Endowment for the Arts fellowships, the American Academy of Arts and Letters Gold Medal in Poetry and the National Humanities Medal.
She won the Pulitzer Prize in 1993 for "The Wild Iris" and the National Book Award for "Faithful and Virtuous Night" in 2014. She was U.S. poet laureate from 2003 to 2004.
The Nobel Prize, which includes a 10 million kronor (more than $1.1 million) prize, comes after several years of controversy and scandal for the organization that awards the literary accolade.
In 2018, the award was postponed after sex abuse allegations rocked the Swedish Academy, which designates the committee that chooses the literature winners, and sparked a mass exodus of members.
After the academy revamped itself in a bid to regain the trust of the Nobel Foundation, two laureates were named last year, with the 2018 prize going to Poland's Olga Tokarczuk and the 2019 award to Austria's Peter Handke.
But Handke's prize caused a storm of protest: A strong supporter of the Serbs during the 1990s Balkan wars, he has been called an apologist for Serbian war crimes. Several countries including Albania, Bosnia and Turkey boycotted the Nobel awards ceremony in protest, and a member of the committee that nominates candidates for the literature prize resigned.
On Monday, the Nobel Committee awarded the prize for physiology and medicine for discovering the liver-ravaging hepatitis C virus. Tuesday's prize for physics honored breakthroughs in understanding the mysteries of black holes, and the chemistry prize on Wednesday went to scientists behind a powerful gene-editing tool.
Still to come are prizes for outstanding work in the fields of peace and economics.
* * * * * * * *
American poet Louise Glück wins Nobel Prize in Literature
by Hillel Italie
October 8, 2020 GMT
NEW YORK (AP) — Louise Glück, an American poet long revered for the power, inventiveness and concision of her work and for her generosity to younger writers, has won the Nobel Prize in Literature.
The Nobel Committee on Thursday praised her as “candid and uncompromising” in granting a rare honor for a U.S. poet, with Wallace Stevens, Gwendolyn Brooks and Robert Frost among her predecessors who were bypassed. Glück spoke briefly to reporters waiting outside her home in Cambridge, Massachusetts, saying she felt “agitation, joy, gratitude.”
Glück is a former U.S. poet laureate who had already received virtually every honor possible for a poet, including the Pulitzer Prize in 1993 for “The Wild Iris,” the National Book Award in 2014 for “Faithful and Virtuous Night” and a National Humanities Medal in 2015. She is just the 16th woman to get the Nobel for literature since it was started in 1901.
“As one of our most celebrated American poets, we are thrilled that Louise Glück has received this year’s Nobel Prize in Literature,” Michael Jacobs, chairman of the Academy of American Poets, said in a statement. “Her poems, her overall body of work, and her utterly distinctive voice, present the human condition in memorable, breathtaking language.”
A native of New York City, descended in part from Hungarian Jews, Glück began reading poetry obsessively as a child, and by her early teens, she was already trying to have her work published. She struggled with anorexia as an adolescent, later saying that her eating disorder was less an expression of despair than of her desire to free the soul from the confines of her body, a theme that later arose in her work. The 77-year-old Glück has drawn from both personal experience and common history and mythology, whether revisiting the final section of “The Iliad” in “Penelope’s Song” or the abduction of Persephone in “Persephone’s Song,” in which she imagines Persephone “lying in the bed of Hades”:
“What is in her mind?/ Is she afraid? Has something/ blotted out the idea/ of mind?”
Anders Olson, chairman of the Nobel literature committee, said that “Glück seeks the universal, and in this she takes inspiration from myths and classical motifs, present in most of her works. The voices of Dido, Persephone and Eurydice –- the abandoned, the punished, the betrayed -– are masks for a self in transformation, as personal as it is universally valid.”
Glück’s poetry collections also include “Descending Figure,” “Ararat” and “The Triumph of Achilles,” winner of the National Book Critics Circle prize in 1985. It contains one of her most anthologized poems, the spare and despairing “Mock Orange,” in which a flowering shrub becomes the focus of a wider wail of anguish about sex and life: “How can I rest? / How can I be content / when there is still / that odor in the world?”
Glück’s legacy extends beyond her own work. Currently dividing her time between Yale University and Stanford University, she has called teaching one of the few pure joys of her life and has mentored many younger poets, including Claudia Rankine, author of the acclaimed “Citizen” and a current work, “Just Us.” Rankine, who studied under Glück at Williams College and is now a colleague at Yale, praised her as “incredible” teacher who valued the work above all.
“I remember the rigor, the wit and the patience that she showed me as a 19-year-old student trying to learn what there was to learn about getting inside the craft of writing poetry,” Rankine told The Associated Press on Thursday. You would hand in something and Louise would find the one line that worked. There was no place for the niceties of mediocrity, no false praise. When Louise speaks you believe her because she doesn’t hide inside of civility.”
Nobel laureates receive a 10 million kronor (more than $1.1 million) prize and are usually feted at a banquet in December, but the event was canceled this year because of the coronavirus pandemic. On Thursday, her longtime publisher Farrar, Straus & Giroux announced that a new collection, “Winter Recipes from the Collective,” will come out next year. A previous work, the career retrospective “Poems 1962-2012,” jumped into the top 100 on Amazon.com’s bestseller list soon after her Nobel was reported.
Glück has enough experience winning awards to be skeptical of their importance. In a 2012 interview with the Academy of Achievement, she said that how she feels about a prize often depends on what she is working on at the time and whether she feels it’s worthy of praise. Glück also found that the rewards were temporary.
“Worldly honor makes existence in the world easier. It puts you in a position to have a good job. It means you can charge large fees to get on an airplane and perform,” she said. “But as an emblem of what I want — it is not capable of being had in my lifetime. I want to live after I die, in that ancient way. And there’s no way of knowing whether that will happen, and there will be no knowing, no matter how many blue ribbons have been plastered to my corpse.”
The literature prize comes after several years of controversy and scandal for the organization that awards the accolade. In 2018, the award was postponed after sex abuse allegations rocked the Swedish Academy, which names the Nobel literature committee, and sparked a mass exodus of members.
After the academy revamped itself to try to regain the trust of the Nobel Foundation, two laureates were named last year, with the 2018 prize going to Poland’s Olga Tokarczuk and the 2019 award to Austria’s Peter Handke., who has been called an apologist for Serbian war crimes. Albania, Bosnia and Turkey were among the countries boycotting the Nobel awards ceremony, and a member of the committee that nominates candidates for the literature prize resigned.
—-
Associated Press writer Jill Lawless in London, David Keyton in Stockholm and Frank Jordans in Berlin contributed.
No comments:
Post a Comment