Essay On Louise Gluck

Essay On Louise Gluck-34
Or maybe the same directions, but with new verve: away from and towards privation. I had a love affair with Gluck and her works in 2012, slowly reading through her canon and being struck again and again by the sheer breadth and talent of her work.

Or maybe the same directions, but with new verve: away from and towards privation. I had a love affair with Gluck and her works in 2012, slowly reading through her canon and being struck again and again by the sheer breadth and talent of her work.At some point I realized that Proofs and Theories was the collected book of her essays and lectures, and fell over myself to secure a copy.Proofs and Theories is a collection of essays on poetry written by one of the most celebrated living american poets: Louise Gluck.

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All the same, there are some essays in this book that I would consider essential, at least for makers of a certain disposition.

And even whe I've been working on this book of essays intermittently for months.

I've been working on this book of essays intermittently for months.

There have been moments of revelation, and moments of frustration too.

Regarding this obsolescence one is sometimes grateful, sometimes mournful.

Though the characters in their passions and dilemmas resemble us, the world in which these passions are enacted is vanished and strange. Glück brings to her prose the same precision of language, the same incisiveness and insight that distinguish her poetry.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 "sincerety" 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.Glück is not gifted in exposition, or in prose, for that matter; she admits as much, several times throughout this collection.In addition, she shares a number of views about poetry and art that I simply find unbearable.Once the end is itself submerged in time, in its impervious trajectory, we have moved from realism to philosophy. Whereas poetry was the way you thought when you were reading or being, independent of the finite freckled self. Her many awards include the National Book Award, the Pulitzer Prize, the National Book Critics Circle Award, the Bollingen Prize for Poetry, and the Wallace Stevens Award from the Academy of American Poets.The fantastic ends differently, since it never began, or began only once we concurred in its hypotheses. She teaches at Yale University and lives in Cambridge, Massachusetts.It is entirely possible that I have never had an accurate sense of what is called realism in that I do not, as a reader, discriminate between it and fantasy. As with my prayers, nothing was ever deleted, but categories were added. There is this variation: the overtly fantastic represents, in imagination, that which has not yet happened (this is true even when it locates itself in a mythic past, a past beyond the reach of documented history). The characters dress in certain ways, they eat certain things, society thwarts them in specific ways; therefore the real (or the theoretically real) acquires in time what the fantastic has always had, an air of vast improbability.These essays were clearly written by the same person who wrote those poems, what I mean by this is that Gluck doesn't seem to have a distinctly academic style in her criticism, they are both deeply personal accounts of a reader of poetry and a writer of poetry.One of my absolute favourite essays of hers is 'Invitation and Exclusion' an essay which tries to analyse a poems attitude towards a reader, if it invited, excludes, or exists in a totally different dimension. As I was with her poetry, Louise Glück's prose put me in a place of awe.

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