In a career spanning more than 60 years, Glück forged a narrative of trauma, disillusion, stasis and longing, spelled by moments — but only moments — of ecstasy and contentment.
the first time an American poet had been honored since T.S. Eliot in 1948, Nobel judges praised “her unmistakable poetic voice that with austere beauty makes individual existence universal.”
“I think constantly of these lines from ‘The Wild Iris’: ‘At the end of my suffering / there was a door.’ And of these lines from ‘The House on Marshland’: ‘The darkness lifts, imagine, in your lifetime.’ It is as if her spare, patient syntax forms a path into and through the weight of living,” she wrote.
What is my heart to you/that you must break it over and over,” the gardener wonders. The god answers: “My poor inspired creation … You are/too little like me in the end/to please me.”Influenced by Shakespeare, Greek mythology and Eliot among others, she questioned and at times dismissed outright the bonds of love and sex, what she called the “premise of union” in her most famous poem, “Mock Orange.
Her mother, Glück would write, was the family’s “maid-of-all-work moral leader,” the one whose assessment of her stories and poems she looked to above all others. Glück was too frail to become a full-time college student and instead sat in on classes at Sarah Lawrence College and Columbia University, finding mentors in the poets-teachers Leonie Adams and Stanley Kunitz. By her mid-20s, she was publishing poems in The New Yorker, The Atlantic Monthly and other magazines.Glück’s debut book, “Firstborn,” was published in 1968, and preceded a long stretch of writer’s block that ended while she was teaching at Goddard College in the early 1970s.
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