Bøker av Louise Glück

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.

'Brilliant poems of complex, haunting power... Averno may be Glück's masterpiece' The New York Times Book ReviewAn acclaimed collection from the Nobel prize-winning poetThis startlingly original reworking of the Persephone myth takes us to the icy shores of Averno, the crater lake regarded by the ancient Romans as the entrance to the underworld. Here, the consolations of rebirth and renewal are eclipsed by the immediacy of loss - by a mother's possessive grief, an abducted girl's equivocal memories, a farmer's lament for a lost harvest. This chorus offers neither comfort nor solace but deepened understanding, its sorrow textured by the poet's luminous wit. Together, the poems of Averno swell to a staggeringly powerful lamentation, through which the reader glimpses the ecstasy of the inevitable, only to find it resisted by the insistent, impersonal presence of the Earth.

WINNER OF THE NOBEL PRIZE IN LITERATUREA haunting new book by a poet whose voice speaks of all our lifetimesLouise Gluck'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. "e;Some of you will know what I mean,"e; the poet says, by which she means, some of you will follow me. Hers is the sustaining presence, the voice containing all our lifetimes, "e;all the worlds, each more beautiful than the last."e; 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.

Averno is a small crater lake in southern , regarded by the ancient Romans as the entrance to the underworld. That place gives its name to Louise Gluck's eleventh collection: in a landscape turned irretrievably to winter, it is the only source of heat and light, a gate or passageway that invites traffic between worlds while at the same time opposing their reconciliation. Averno is an extended lamentation, its long, restless poems no less spellbinding for being without plot or hope, 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 presence.Averno is a 2006 National Book Award Finalist for Poetry.

SHORTLISTED FOR THE 2014 FORWARD PRIZE FOR BEST COLLECTION The latest collection by multi-award-winning US poet, Louise Gluck.

From a fountain where 'all the roads in the village unite', concentric circles expand into the distance: the young and old, fields, a river, a mountain - the fountain's stone counterpart, where the roads end, human time superimposed on geological time. This title evokes a Mediterranean world with luminous precision.

A collection of essays in which the author writes of her own upbringing, her human and literary antecedents, and also dwells on lives and poems. The book includes writings on T.S. Eliot, George Oppen, Sylvia Plath, Robinson Jeffers, Wallace Stevens, and John Berryman.

A ruthlessly probing family portrait in verse, Gluck's sixth poetry collection confronts, with devastating irony, her father's hollow life and her mother's inability to express emotion. This might seem like a daughter's belated rebellion, except that these fierce, rock-strong, deeply felt lyrics are steeled by love and understanding.

Marigold and Rose is a magical and incandescent fiction from the Nobel laureate Louise Glück."Marigold was absorbed in her book; she had gotten as far as the V." So begins Marigold and Rose, Louise Glück's astonishing chronicle of the first year in the life of twin girls. Imagine a fairy tale that is also a multigenerational saga; a piece for two hands that is also a symphony; a poem that is also, in the spirit of Kafka's The Metamorphosis, an incandescent act of autobiography.Here are the elements you'd expect to find in a story of infant twins: Father and Mother, Grandmother and Other Grandmother, bath time and naptime-but more than that, Marigold and Rose is an investigation of the great mystery of language and of time itself, of what is and what has been and what will be. "Outside the playpen there were day and night. What did they add up to? Time was what they added up to. Rain arrived, then snow." The twins learn to climb stairs, they regard each other like criminals through the bars of their cribs, they begin to speak. "It was evening. Rose was smiling placidly in the bathtub playing with the squirting elephant, which, according to Mother, represented patience, strength, loyalty and wisdom. How does she do it, Marigold thought, knowing what we know."Simultaneously sad and funny, and shot through with a sense of stoic wonder, this small miracle of a book, following thirteen books of poetry and two collections of essays, is unlike anything Glück has written, while at the same time it is inevitable, transcendent.

WINNER OF THE NOBEL PRIZE IN LITERATUREAverno 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.

WINNER OF THE NOBEL PRIZE IN LITERATURE The collected works of the inimitable Pulitzer Prize-winning poetIt 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'sbitter disgrace, coldness and barrennessmy 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 LiteratureThe First Four Books of Poems collects the early work that established Louise Gluck as one of America's most original and important poets. Honored with the Pulitzer Prize for The Wild Iris, Gluck was celebrated early in her career for her fierce, austerely beautiful voice. In Firstborn, The House on Marshland, Descending Figure, and The Triumph of Achilles, which won the National Book Critics Circle Award for Poetry, we see the conscious progression of a poet who speaks with blade-like accuracy and stirring depth. The voice that has become Gluck's trademark speaks in these poems of a life lived in unflinching awareness. Always she is moving in and around the achingly real, writing poems adamant in their accuracy and depth. Their progression is proof of her commitment to change; with her first four books of poetry collected in a single volume, Louise Gluck shows herself happily "used by time."

The first UK edition of a radical and unconsoling contemporary collection of essays on poetry, from the recipient of the Nobel Prize in Literature 2020.

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 "e;tributaries"e;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 "e;the type of describing, supervising intelligence found in novels rather than poetry,"e; 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.

Winner of the 2014 National Book Award for PoetryA luminous, seductive new collection from the "e;fearless"e; (The New York Times) Pulitzer Prize-winning poetLouise Gluck is one of the finest American poets at work today. Her Poems 1962-2012 was hailed as "e;a major event in this country's literature"e; 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 "e;on page three a dog appeared, on page five a ball"e; and every familiar facet has been made to shimmer like the contours of a dream, "e;the dog float[ing] into the sky to join the ball."e; 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.

It is the astonishment of Louise Gluck'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 ("e;Come here / Come here, little one"e;), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "e;do not see the intervening fathoms."e; From within the earth'sbitter disgrace, coldness and barrennessmy 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.

The themes of the previous volume of poetry define the tasks of the next for Louise Gluck. This collection shows the poet in this evolution. It includes: "Firstborn" (1968); "The House on Marshland" (1975); "Descending Figure" (1980); "The Triumph of Achilles" (1985); and "Ararat" (1990).

Averno, a crater lake in southern Italy, was for the Romans the entrance to the underworld, both gateway and impassable barrier between the living and the dead. This collection shows Averno as the only source of heat and light in a world turned to icy winter. Both epic and intimate in scope, it explores the enduring drama of love and death.

Louise Gluck's collection is a work of ends and beginnings. Her poetry comes in white-hot sequences of passionate intensity. "Vita Nova" is a sequence of poems which dramatises the end of a relationship and the beginning of a new life.

In contemplating her own death, Louise Gluck confronts the possible and the inevitable in this, her ninth and boldest book.

Includes "Penelope's Song" in which the author interweaves in a book-length sequence an account of the dissolution of a contemporary marriage with the story of Homer's "Odyssey". This collection of poetry also explores the notion of the "nostos", the homecoming.