Louise Glück

Los poemas de Averno, el decimo libro de Louise Glück (Nueva York, 1943-Cambridge, 2023), Premio Nobel de Literatura 2020, discurren entre ambiguos regresos del amor y múltiples regresos de la muerte

LA poesía confesional de Louise Glück (Nueva York, 1943), Premio Nobel de Literatura 2020, alcanza una nueva dimensión con El iris silvestre (1992), su obra más ambiciosa. En este libro, merecedor de

A Financial Times Best Poetry Books of 2021Louise Glucks thirteenth book of poems 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 sisters 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 couldnt have been written by anyone else, nor could it have been written by the poet at any other time in her life.

The probing essays collected in American Originality scrutinise the terms we use to think about recent American poetry, its antecedents (not just Whitman and Dickinson but Ovid, Rilke, Thomas Mann, Keats) and its future, questioning how we distinguish between work that is unique and work that is original, carefully delineating the allure of both shared traditions and the cult of illogic. Attentive always to risk and danger, Louise Gluck illuminates how the poet at work moves between panic and gratitude, agony and resolution.Essays on specific writers and on the larger themes of American literature introduce the terms by which she reads and celebrates ten younger poets whose work she has advocated. Studded with brilliant insights into her own practice and the work of her contemporaries, this is an essential book for any interested reader of new poetry.

El gran hombre le da la espalda a la isla.Su muerte no sucederá ya en elparaísoni volverá a oírlos laudes del paraíso entre los olivos,junto a las charcas cristalinas bajo los cipreses. Dacomienzo ahora el tiempo en el que oye otra vezese latido que es la narraciondel mar, al alba cuando su atraccion es mas fuerte.Lo que nos trajo hasta aquinos sacara de aqui; nuestra navese mece en el agua teñida del puerto.Ahora el hechizo ha concluido.Devuelvele su vida,mar que solo sabes avanzar.La decision de Odiseo, de Louise Gluck.Louise Gluck es autora de mas de nueve libros de poesia y de una coleccion de ensayos, Proofs and Theories, que obtuvo el Premio PEN/Martha Albrand. Fue galardonada con el Premio Nacional de la Critica por The Triumph of Achilles, el Premio Pulitzer por The Wild Iris (El iris salvaje, Pre-Textos, 2006), y el primer Premio otorgado por los lectores del New Yorker, ademas del Premio Bollingen, por Vita Nova. Entre otros, cuenta tambien con el Premio Nacional Bobbit otorgado por la Biblioteca del Congreso, el Premio William Carlos Williams otorgado por la Asociacion de Poetas de Estados Unidos, el Premio Fundacion Lannan y el Premio Ambassador, otorgado por la Union de Hablantes de lengua inglesa. Louise Glück es miembro de la Academia Americana de las Artes y las...

En mi primer sueño el mundo parecía lo salado, lo amargo, lo prohibido, lo dulce En mi segundo sueño descendía, era humana, no veía nada de nada bestia como soy debía tocarlo, contenerlo me escond

Entre el bien y el mal hubo una guerra.Decidimos que el cuerpo fuese el bien.Eso hizo que el mal fuese la muerte,que el alma se volvieracompletamente en contra de la muerte.Como un soldado que deseaservir a un gran señor, el almadesea cerrar filas con el cuerpo.Se puso en contra de la oscuridad,en contra de las formas de la muerteque reconocia.De donde viene la vozque dice: y si la guerrafuese el mal, que dicey si fue el cuerpo el que nos hizo esto,nos hizo tener miedo del amor.Lago en el crater, de Louise Gluck.

Se me secó el alma. Como un alma arrojada al fuego, pero no del todo, no hasta la aniquilación. Sedienta, siguió adelante. Crispada, no por la soledad sino por la desconfianza, el resultado de la vio

Depuis la parution de son premier recueil en 1968, Louise Glück n’a eu de cesse de réinventer son art, tout en créant une voix immédiatement reconnaissable, par son mélange de retenue et d’affirmatio

Louise Glück compte depuis longtemps parmi les voix majeures de la poésie contemporaine outre-Atlantique. Son œuvre, née de l’expérience et de la voix d’une femme, traverse le féminin tout en lui rés

Winner of the Nobel Prize in LiteratureThe masterful collection from the acclaimed Pulitzer Prize-winning author of The Wild Iris and Vita NovaLouise Gluck has long practiced poetry as a species of clairvoyance. She began as Cassandra, at a distance, in league with the immortal; to read her books sequentially is to chart the oracles metamorphosis into unwilling vessel, reckless, mortal and crude. The Seven Ages is Glucks ninth book, her strangest and most bold. In it she stares down her own death, and, in doing do, forces endless superimpositions of the possible on the impossiblean act that simultaneously defies and embraces the inevitable, and is, finally, mimetic. over and over, at each wild leap or transformation, flames shoot up the readers spine.

El pausado transcurrir de los días, con sus ritmos que parecen abolir el tiempo. La peculiar geometría de las calles que irradian desde la plaza central. El ciclo del cultivo y la cosecha, donde la muerte es simultáneamente cósmica y minúscula, donde el renacimiento es tan certero como el sol. El tempo de una existencia desplegada entre colinas, dolorosamente lejos del mar. Louise Glück condensa en Una vida de pueblo el día a día rural en Estados Unidos, con sus animales y habitantes, cuya juventud exuberante y subsecuente decadencia parecen hacer eco de la naturaleza que los rodea. Con ojo sutil e irónico, con dicción afilada, nos muestra el lado oculto de este devenir aparentemente sencillo, exhibiendo sin tremendismo las pasiones que transcurren hondas en su interior.

In Averno (2006), raccolta ormai ritenuta un classico, Louise Gluck, esplora concetti come "mente" e "anima" da un punto di vista originale, spesso amarognolo; si propone di esaminare la "frattura nell'anima umana / che non e stata fatta per appartenere / tutta alla vita", e si chiede come un'anima che sopravvive all'esistenza corporea puo trovare appagamento, sapendo che le innumerevoli gioie della vita "le bacche rosse del sorbo selvatico", "le migrazioni notturne degli uccelli" saranno svanite per sempre (New York Times Book Review). Averno e la seconda raccolta di Louise Gluck edita in Italia (dopo L'iris selvatico, 2003, tradotto anche da Massimo Bacigalupo).

WINNER OF THE NOBEL PRIZE IN LITERATUREA 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 TreesThe 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 linesexpansive, fluent, and fullmanifesting 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.

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 Gluck'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.

En nuestra familia, todos aman las flores. Por eso las tumbas nos parecen tan extrañas: sin flores, sólo herméticas fincas de hierba con placas de granito en el centro: las inscripciones suaves, la l

Los poemas no perduran como objetos, sino como presencias. Cuando lees algo que merece recordarse, liberas una voz humana: devuelves al mundo un espíritu compañero. Yo leo poemas para escuchar esa vo

The poems in this collection are written in the language of flowers. Louise Gluck received the Pulitzer Prize for The Wild Iris in 1993, and has also received the National Book Critics Award for Poetry and the Poetry Society of America's Melville Kane Award.

TRAS la publicación de su poesía reunida en 2012, la poeta Louise Glück (Nueva York, 1943) ha seguido en Noche fiel y virtuosa (2014) el consejo de su colega Richard Siken de "jugar en el barro, sola