American poet and Nobel laureate (1943?2023)
Louise Gluck
|
---|
|
Born
| Louise Elisabeth Gluck
(
1943-04-22
)
April 22, 1943
New York City, U.S.
|
---|
Died
| October 13, 2023
(2023-10-13)
(aged 80)
Cambridge, Massachusetts
, U.S.
|
---|
Occupation
| |
---|
Education
| |
---|
Period
| 1968?2023
|
---|
Notable works
| |
---|
Notable awards
| |
---|
Spouse
|
Charles Hertz Jr.
(
m.
1967, divorced)
John Dranow
(
m.
1977;
div.
1996)
|
---|
Children
| 1
|
---|
Relatives
| Abigail Savage
(niece)
|
---|
Louise Elisabeth Gluck
(
GLIK
;
[1]
[2]
April 22, 1943 ? October 13, 2023) was an American poet and essayist. She won the
2020 Nobel Prize in Literature
, whose judges praised "her unmistakable poetic voice that with austere beauty makes individual existence universal".
[3]
Her other awards include the
Pulitzer Prize
,
National Humanities Medal
,
National Book Award
,
National Book Critics Circle Award
, and
Bollingen Prize
. From 2003 to 2004, she was
Poet Laureate of the United States
.
Gluck 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 taught poetry at several academic institutions.
Gluck is often described as an autobiographical poet; her work is known for its emotional intensity and for frequently drawing on
mythology
or nature imagery to meditate on personal experiences and
modern life
. Thematically, her poems have illuminated aspects of
trauma
, desire, and nature. In doing so, they have become known for 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.
Gluck served as the Frederick Iseman Professor in the Practice of Poetry at
Yale University
and as a professor of English at
Stanford University
. She split her time between
Cambridge, Massachusetts
;
Montpelier, Vermont
; and
Berkeley, California
.
[4]
[5]
[6]
Biography
[
edit
]
Early life
[
edit
]
Louise Gluck was born in New York City on April 22, 1943. She was the elder of two surviving daughters of Daniel Gluck, a businessman, and Beatrice Gluck (nee Grosby), a homemaker.
[7]
Gluck's mother was of
Russian Jewish
descent.
[8]
Her paternal grandparents, Terezia (nee Moskovitz) and Henrik Gluck, were
Hungarian Jews
from
Ermihalyfalva
,
Bihar County
, in what was then the
Kingdom of Hungary
,
Austro-Hungarian Empire
(present-day Romania); her grandfather ran a timber company called "Feldmann es Gluck".
[9]
[10]
They emigrated to the United States in December 1900 and eventually owned a grocery store in New York.
[8]
Gluck's father, who was born in the United States, had an ambition to become a writer, but went into business with his brother-in-law.
[11]
Together, they achieved success when they invented the
X-Acto knife
.
[12]
Gluck's mother was a graduate of
Wellesley College
. In her childhood, Gluck's parents taught her
Greek mythology
and classic stories such as the life of
Joan of Arc
.
[13]
She began to write poetry at an early age.
[14]
As a teenager, Gluck developed
anorexia nervosa
,
[12]
[15]
which became the defining challenge of her late teenage and young adult years. She described the illness, in one essay, as the result of an effort to assert her independence from her mother.
[16]
Elsewhere, she connected her illness to the death of an elder sister, an event that occurred before she was born.
[7]
During the fall of her senior year at
George W. Hewlett High School
, in
Hewlett, New York
, she began
psychoanalytic treatment
. A few months later, she was taken out of school in order to focus on her rehabilitation, although she still graduated in 1961.
[17]
Of that decision, she wrote, "I understood that at some point I was going to die. What I knew more vividly, more viscerally, was that I did not want to die".
[16]
She spent the next seven years in therapy, which she credited with helping her to overcome the illness and teaching her how to think.
[18]
As a result of her condition, Gluck did not enroll in college as a full-time student. She described her decision to forgo higher education in favor of therapy as necessary: "… my emotional condition, my extreme rigidity of behavior and frantic dependence on ritual made other forms of education impossible".
[19]
Instead, she took a poetry class at Sarah Lawrence College and, from 1963 to 1966, she enrolled in poetry workshops at
Columbia University
's
School of General Studies
, which offered courses for non-degree students.
[20]
[21]
[22]
While there, she studied with
Leonie Adams
and
Stanley Kunitz
. She credited these teachers as significant mentors in her development as a poet.
[23]
Career
[
edit
]
While attending poetry workshops, Gluck began to publish her poems. Her first publication was in
Mademoiselle
, followed soon after by poems in
Poetry
,
The New Yorker
,
The Atlantic Monthly
,
The Nation
, and other venues.
[24]
[25]
After leaving Columbia, Gluck supported herself with secretarial work.
[26]
She married Charles Hertz Jr. in 1967.
[27]
In 1968, Gluck published her first collection of poems,
Firstborn
, which received some positive critical attention. In a review, the poet
Robert Hass
described the book as "hard, artful, and full of pain".
[28]
However, reflecting on it in 2003, the critic
Stephanie Burt
said the collection "revealed a forceful but clotted poet, an anxious imitator of
Robert Lowell
and
Sylvia Plath
".
[29]
Following the publication, Gluck experienced a prolonged case of
writer's block
, which was not cured, she said, until 1971, when she began to teach poetry at
Goddard College
in Vermont.
[26]
[30]
The poems she wrote during this time were collected in her second book,
The House on Marshland
(1975), which many critics have regarded as her breakthrough work, signaling her "discovery of a distinctive voice".
[31]
In 1973, Gluck gave birth to a son, Noah, with her partner, Keith Monley, who helped raise him for the first two years of his life.
[12]
[32]
Her marriage to
Charles Hertz, Jr.
had ended in divorce, and in 1977 she married
John Dranow
, an author who had started the summer writing program at Goddard College.
[27]
[33]
In 1980, Dranow and Francis Voigt, the husband of poet
Ellen Bryant Voigt
, co-founded the
New England Culinary Institute
as a private, for-profit college. Gluck and Bryant Voigt were early investors in the institute and served on its board of directors.
[33]
In 1980, Gluck's third collection,
Descending Figure
, was published. It received some criticism for its tone and subject matter: for example, the poet
Greg Kuzma
accused Gluck of being a "child hater" for her now anthologized poem, "The Drowned Children".
[34]
On the whole, however, the book was well received. In
The American Poetry Review
,
Mary Kinzie
praised the book's illumination of "deprived, harmed, stammering beings".
[35]
Writing in
Poetry
, the poet and critic
J. D. McClatchy
said the book was "a considerable advance on Gluck's previous work" and "one of the year's outstanding books".
[36]
That same year, a fire destroyed Gluck's house in Vermont, resulting in the loss of most of her possessions.
[27]
In the wake of that tragedy, Gluck began to write the poems that would later be collected in her award-winning work,
The Triumph of Achilles
(1985). Writing in
The New York Times
, the author and critic
Liz Rosenberg
described the collection as "clearer, purer, and sharper" than Gluck's previous work.
[37]
The critic Peter Stitt, writing in
The Georgia Review
, declared that the book showed Gluck to be "among the important poets of our age".
[38]
From the collection, the poem "Mock Orange", which has been likened to a feminist anthem,
[39]
has been called an "anthology piece" because of its frequent inclusion in poetry anthologies and college courses.
[40]
In 1984, Gluck joined the faculty of
Williams College
in Massachusetts as a senior lecturer in the English Department.
[41]
The following year, her father died.
[42]
The loss prompted her to begin a new collection of poems,
Ararat
(1990), the title of which references the mountain of the
Genesis flood narrative
. Writing in
The New York Times
in 2012, the critic
Dwight Garner
called it "the most brutal and sorrow-filled book of American poetry published in the last 25 years".
[15]
Gluck followed this collection with one of her most popular and critically acclaimed books,
The Wild Iris
(1992), which features garden flowers in conversation with a gardener and a deity about the nature of life.
Publishers Weekly
proclaimed it an "important book" that showcased "poetry of great beauty".
[43]
The critic Elizabeth Lund, writing in
The
Christian Science Monitor
, called it "a milestone work".
[44]
It went on to win the Pulitzer Prize in 1993, cementing Gluck's reputation as a preeminent American poet.
[45]
While the 1990s brought Gluck literary success, it was also a period of personal hardship. Her marriage to John Dranow ended in divorce in 1996, the difficult nature of which affected their business relationship, resulting in Dranow's removal from his positions at the New England Culinary Institute.
[33]
[46]
Gluck channeled her experience into her writing, entering a prolific period of her career. In 1994, she published a collection of essays called
Proofs & Theories: Essays on Poetry
. She then produced
Meadowlands
(1996), a collection of poetry about the nature of love and the deterioration of a marriage.
[47]
She followed it with two more collections:
Vita Nova
(1999) and
The Seven Ages
(2001).
In 2004, in response to the
terrorist attacks of September 11, 2001
, Gluck published a
chapbook
entitled
October
. Consisting of one poem divided into six parts, it draws on ancient Greek myth to explore aspects of trauma and suffering.
[48]
That same year, she was named the Rosenkranz Writer in Residence at Yale University.
[49]
After joining the faculty of Yale, Gluck continued to publish poetry. Her books published during this period include
Averno
(2006),
A Village Life
(2009), and
Faithful and Virtuous Night
(2014). In 2012, the publication of a collection of a half-century's worth of her poems, entitled
Poems: 1962?2012
, was called "a literary event".
[50]
Another collection of her essays, entitled
American Originality
, appeared in 2017.
[51]
In October 2020, Gluck was awarded the Nobel Prize in Literature, becoming the sixteenth female literature laureate since the prize was founded in 1901.
[52]
Due to restrictions caused by the
COVID-19 pandemic
, she received her prize at her home.
[53]
In her Nobel lecture, which was delivered in writing, she highlighted her early engagement with poetry by
William Blake
and
Emily Dickinson
in discussing the relationship between poets, readers, and the wider public.
[54]
In 2021, Gluck's collection,
Winter Recipes from the Collective
, was published. In 2022, she was named the Frederick Iseman Professor in the Practice of Poetry at Yale.
[55]
In 2023, she was appointed a professor of English at Stanford University, where she taught in the Creative Writing Program.
[6]
Personal life
[
edit
]
Gluck's elder sister died young before Gluck was born. Her younger sister, Tereze (1945?2018), worked at
Citibank
as a vice president and was also a writer, winning the
Iowa Short Fiction Award
in 1995 for her book,
May You Live in Interesting Times
.
[56]
Gluck's niece is the actress
Abigail Savage
.
[57]
She remained a close confidant and friend to Vermont novelist
Kathryn Davis
throughout her life. The two often corresponded to share their developing works, seeking creative advice throughout their lengthy friendship and writing careers.
Gluck died from cancer at home in
Cambridge, Massachusetts
, on October 13, 2023, at age 80.
[58]
Work
[
edit
]
Gluck's work has been the subject of academic study. Her papers, including manuscripts, correspondence, and other materials, are housed at the
Beinecke Rare Book and Manuscript Library
at Yale University.
[59]
Form
[
edit
]
Gluck is best known for lyric poems of linguistic precision and dark tone. The poet
Craig Morgan Teicher
has described her as a writer for whom "words are always scarce, hard won, and not to be wasted".
[60]
The scholar Laura Quinney has argued that her careful use of words put Gluck into "the line of American poets who value fierce lyric compression", from
Emily Dickinson
to
Elizabeth Bishop
.
[61]
Gluck's poems shifted in form throughout her career, beginning with short, terse lyrics composed of compact lines and expanding into connected book-length sequences.
[62]
Her work is not known for poetic techniques such as rhyme or alliteration. Rather, the poet Robert Hahn has called her style "radically inconspicuous" or "virtually an absence of style", relying on a voice that blends "portentous intonations" with a conversational approach.
[40]
Among scholars and reviewers, there has been discussion as to whether Gluck is a
confessional poet
, owing to the prevalence of the first-person mode in her poems and their intimate subject matter, often inspired by events in Gluck's personal life. The scholar Robert Baker has argued that Gluck "is surely a confessional poet in some basic sense",
[63]
while the critic Michael Robbins has argued that Gluck's poetry, unlike that of confessional poets
Sylvia Plath
or
John Berryman
, "depends upon the fiction of privacy".
[64]
In other words, she cannot be a confessional poet, Robbins argues, if she does not address an audience. Going further, Quinney argues that, to Gluck, the confessional poem is "odious".
[61]
Others have noted that Gluck's poems can be viewed as autobiographical, while her technique of inhabiting various personas, ranging from ancient Greek gods to garden flowers, renders her poems more than mere confessions. As the scholar
Helen Vendler
has noted: "In their obliquity and reserve, [Gluck's poems] offer an alternative to first-person 'confession', while remaining indisputably personal".
[65]
Themes
[
edit
]
While Gluck's work is thematically diverse, scholars and critics have identified several themes that are paramount. Most prominently, Gluck's poetry can be said to focus on trauma, as she wrote throughout her career about death, loss, suffering, failed relationships, and attempts at healing and renewal.
[66]
The scholar Daniel Morris notes that even a Gluck poem that uses traditionally happy or idyllic imagery "suggests the author's awareness of mortality, of the loss of innocence".
[31]
The scholar Joanne Feit Diehl echoes this notion when she argues that "this 'sense of an ending' … infuses Gluck's poems with their retrospective power", pointing to her transformation of common objects, such as a baby stroller, into representations of loneliness and loss.
[67]
Yet, for Gluck, trauma was arguably a gateway to a greater appreciation of life, a concept explored in
The Triumph of Achilles
. The triumph to which the title alludes is Achilles' acceptance of mortality?which enables him to become a more fully realized human being.
[68]
Another of Gluck's common themes is desire. Gluck wrote directly about many forms of desire?for example, the desire for love or insight?but her approach is marked by ambivalence. Morris argues that Gluck's poems, which often adopt contradictory points of view, reflect "her own ambivalent relationship to status, power, morality, gender, and, most of all, language".
[69]
The author Robert Boyer has characterized Gluck's ambivalence as a result of "strenuous self-interrogation". He argues that "Gluck's poems at their best have always moved between recoil and affirmation, sensuous immediacy and reflection … for a poet who can often seem earthbound and defiantly unillusioned, she has been powerfully responsive to the lure of the daily miracle and the sudden upsurge of overmastering emotion".
[70]
The tension between competing desires in Gluck's work manifests both in her assumption of different personas from poem to poem and in her varied approach to each collection of her poems. This led the poet and scholar
James Longenbach
to declare that "change is Louise Gluck's highest value" and "if change is what she most craves, it is also what she most resists, what is most difficult for her, most hard-won".
[71]
Another of Gluck's preoccupations was nature, the setting for many of her poems. In
The Wild Iris
, the poems take place in a garden where flowers have intelligent, emotive voices. However, Morris points out that
The House on Marshland
is also concerned with nature and can be read as a revision of the
Romantic
tradition of nature poetry.
[72]
In
Ararat
, too, "flowers become a language of mourning", useful for both commemoration and competition among mourners to determine the "ownership of nature as a meaningful system of symbolism".
[73]
Thus, in Gluck's work nature is both something to be regarded critically and embraced. The author and critic Alan Williamson has said it can also sometimes suggest the divine, as when, in the poem "Celestial Music", the speaker states that "when you love the world you hear celestial music", or when, in "The Wild Iris", the deity speaks through changes in weather.
[74]
Gluck's poetry is also notable for what it avoids. Morris argues that
Gluck's writing most often evades ethnic identification, religious classification, or gendered affiliation. In fact, her poetry often negates critical assessments that affirm
identity politics
as criteria for literary evaluation. She resists
canonization
as a hyphenated poet (that is, as a "Jewish-American" poet, or a "feminist" poet, or a "nature" poet), preferring instead to retain an aura of
iconoclasm
, or in-betweenness.
[75]
Influences
[
edit
]
Gluck pointed to the influence of
psychoanalysis
on her work, as well as her early learning in ancient legends, parables, and mythology. In addition, she credited the influence of Leonie Adams and Stanley Kunitz. Scholars and critics have pointed to the literary influence on her work of
Robert Lowell
,
[76]
Rainer Maria Rilke
,
[64]
and
Emily Dickinson
,
[77]
among others.
Honors
[
edit
]
Gluck received numerous honors for her work. Below are honors she received for both her body of work and individual works.
Honors for body of work
[
edit
]
- Rockefeller Foundation Fellowship
(1967)
[78]
- National Endowment for the Arts Fellowship
(1970)
[79]
- Guggenheim Fellowship for Creative Arts
(1975)
[80]
- National Endowment for the Arts Fellowship (1979)
[79]
- American Academy of Arts and Letters Award in Literature (1981)
[81]
- Guggenheim Fellowship for Creative Arts (1987)
[80]
- National Endowment for the Arts Fellowship (1988)
[79]
- Honorary Doctorate,
Williams College
(1993)
[82]
- American Academy of Arts and Sciences
, Elected Member (1993)
[83]
- Vermont State Poet (1994?1998)
[84]
- Honorary Doctorate,
Skidmore College
(1995)
[85]
- Honorary Doctorate,
Middlebury College
(1996)
[86]
- American Academy of Arts and Letters
, Elected Member (1996)
[87]
- Lannan Literary Award
(1999)
[88]
- School of Humanities, Arts, and Social Sciences 50th Anniversary Medal,
MIT
(2001)
[89]
- Bollingen Prize (2001)
[90]
- Poet Laureate of the United States (2003?2004)
[91]
- Wallace Stevens Award
of the Academy of American Poets (2008)
[92]
- Aiken Taylor Award for Modern American Poetry
(2010)
[93]
- American Academy of Achievement
, Elected Member (2012)
[94]
- American Philosophical Society
, Elected Member (2014)
[95]
- American Academy of Arts and Letters Gold Medal
in Poetry (2015)
[96]
- National Humanities Medal (2015)
[97]
- Transtromer Prize (2020)
[98]
- Nobel Prize in Literature (2020)
[3]
- Honorary Doctorate,
Dartmouth College
(2021)
[99]
Honors for individual works
[
edit
]
- Melville Cane Award for
The Triumph of Achilles
(1985)
[100]
- National Book Critics Circle Award for
The Triumph of Achilles
(1985)
[101]
- Rebekah Johnson Bobbitt National Prize for Poetry for
Ararat
(1992)
[102]
- William Carlos Williams Award
for
The Wild Iris
(1993)
[21]
- Pulitzer Prize for
The Wild Iris
(1993)
[103]
- PEN/Martha Albrand Award for First Nonfiction for
Proofs & Theories: Essays on Poetry
(1995)
[104]
- Ambassador Book Award of the English-Speaking Union for
Vita Nova
(2000)
[105]
- Ambassador Book Award of the English-Speaking Union for
Averno
(2007)
[106]
- L.L. Winship/PEN New England Award
for
Averno
(2007)
[107]
- Los Angeles Times Book Prize
for
Poems 1962?2012
(2012)
[108]
- National Book Award for
Faithful and Virtuous Night
(2014)
[109]
In addition,
The Wild Iris
,
Vita Nova
, and
Averno
were all finalists for the National Book Award.
[110]
The Seven Ages
was a finalist for the Pulitzer Prize and the National Book Critics Circle Award.
[111]
[101]
A Village Life
was a finalist for the National Book Critics Circle Award and the
Griffin International Poetry Prize
.
[112]
Gluck's poems have been widely anthologized, including in the
Norton Anthology of Poetry
,
[113]
the
Oxford Book of American Poetry
,
[114]
and the
Columbia Anthology of American Poetry
.
[115]
Elected or invited posts
[
edit
]
In 1999, Gluck, along with the poets
Rita Dove
and
W. S. Merwin
, was asked to serve as a special consultant to the
Library of Congress
for that institution's bicentennial. In this capacity, she helped the Library of Congress to determine programming to mark its 200th anniversary celebration.
[116]
In 1999, she was also elected a Chancellor of the
Academy of American Poets
, a post she held until 2005.
[117]
In 2003, she was appointed the judge of the
Yale Series of Younger Poets
, a position she held until 2010. The Yale Series is the oldest annual literary competition in the United States, and during her time as judge, she selected for publication works by the poets
Jay Hopler
,
Peter Streckfus
, and
Fady Joudah
, among others.
[118]
Gluck was a visiting faculty member at many institutions, including
Stanford University
,
[119]
Boston University
,
[120]
the
University of North Carolina, Greensboro
,
[121]
and the
Iowa Writers Workshop
.
[122]
Selected bibliography
[
edit
]
Poetry collections
[
edit
]
- Firstborn
. The New American Library, 1968.
- The House on Marshland
. The Ecco Press, 1975.
ISBN
978-0-912946-18-4
- Descending Figure
. The Ecco Press, 1980.
ISBN
978-0-912946-71-9
- The Triumph of Achilles
. The Ecco Press, 1985.
ISBN
978-0-88001-081-8
- Ararat
. The Ecco Press, 1990.
ISBN
978-0-88001-247-8
- The Wild Iris
. The Ecco Press, 1992.
ISBN
978-0-88001-281-2
- Meadowlands
. The Ecco Press, 1997.
ISBN
978-0-88001-452-6
- Vita Nova
. The Ecco Press, 1999.
ISBN
978-0-88001-634-6
- The Seven Ages
. The Ecco Press, 2001.
ISBN
978-0-06-018526-8
- Averno
. Farrar, Straus and Giroux, 2006.
ISBN
978-0-374-10742-0
- A Village Life
. Farrar, Straus and Giroux, 2009.
ISBN
978-0-374-28374-2
- Poems: 1962?2012
. Farrar, Straus and Giroux, 2012.
ISBN
978-0-374-12608-7
- Faithful and Virtuous Night
. Farrar, Straus and Giroux, 2014.
ISBN
978-0-374-15201-7
- Winter Recipes from the Collective
. Farrar, Straus and Giroux, 2021.
ISBN
978-0-374-60410-3
Omnibus editions
[
edit
]
Chapbooks
[
edit
]
Essay collections
[
edit
]
Fiction
[
edit
]
See also
[
edit
]
References
[
edit
]
- ^
"Louise Gluck wins Nobel Prize for Literature"
.
BBC
. October 8, 2020
. Retrieved
October 8,
2020
.
- ^
"Say How? ? National Library Service for the Blind and Print Disabled"
.
Library of Congress
. Retrieved
October 8,
2020
.
- ^
a
b
"Summary of the 2020 Nobel Prize in Literature"
.
Archived
from the original on October 8, 2020
. Retrieved
October 8,
2020
.
- ^
"Louise Gluck | Authors | Macmillan"
.
US Macmillan
.
Archived
from the original on June 13, 2018
. Retrieved
October 9,
2020
.
- ^
Schley, Jim.
"Book Review: 'Winter Recipes From the Collective,' Louise Gluck"
.
Seven Days
. Retrieved
January 26,
2022
.
- ^
a
b
Sanford, John.
"With five new appointments, Creative Writing Program undergoing 'amazing transformation' | Stanford Humanities and Sciences"
.
humsci.stanford.edu
. Retrieved
March 3,
2023
.
- ^
a
b
Morris, Daniel (2006).
The Poetry of Louise Gluck: A Thematic Introduction
. Columbia: University of Missouri Press. pp.
25
.
ISBN
9780826216939
.
- ^
a
b
Morris, Daniel (2006).
The Poetry of Louise Gluck: A Thematic Introduction
. Columbia: University of Missouri Press. p.
67
.
ISBN
9780826216939
.
- ^
Kiss, Gabor (October 10, 2020).
"AZ ERT?L AZ OCEANIG ? A NOBEL-DIJAS LOUISE E. GLUCK MAGYAR GYOKEREI"
.
szombat
. Retrieved
January 23,
2021
.
- ^
Berger, Joel (December 10, 2020).
"Es war einmal in Ermihalyfalva"
(PDF)
.
Judische Allgemeine
. Retrieved
January 23,
2021
.
- ^
Gluck, Louise (1994).
Proofs & Theories: Essays on Poetry
. New York: The Ecco Press. p. 5.
- ^
a
b
c
Weeks, Linton (August 29, 2003).
"Gluck to be Poet Laureate"
.
The Washington Post
.
Archived
from the original on April 7, 2020
. Retrieved
April 7,
2020
.
- ^
Gluck, Louise.
Proofs & Theories: Essays on Poetry
. p. 7.
- ^
Gluck, Louise.
Proofs & Theories: Essays on Poetry
. p. 8.
- ^
a
b
Garner, Dwight (November 8, 2012).
"Verses Wielded Like a Razor"
.
The New York Times
.
ISSN
0362-4331
.
Archived
from the original on April 7, 2020
. Retrieved
April 7,
2020
.
- ^
a
b
Gluck, Louise.
Proofs & Theories: Essays on Poetry
. p. 11.
- ^
"Louise Gluck Biography and Interview"
.
www.achievement.org
.
American Academy of Achievement
.
Archived
from the original on March 8, 2019
. Retrieved
April 7,
2020
.
- ^
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Further reading
[
edit
]
- Burnside, John,
The Music of Time: Poetry in the Twentieth Century
, London: Profile Books, 2019,
ISBN
978-1-78125-561-2
- Dodd, Elizabeth,
The Veiled Mirror and the Woman Poet: H.D., Louise Bogan, Elizabeth Bishop, and Louise Gluck
, Columbia: University of Missouri Press, 1992,
ISBN
978-0-8262-0857-6
- Doreski, William,
The Modern Voice in American Poetry
, Gainesville: University Press of Florida, 1995,
ISBN
978-0-8130-1362-6
- Feit Diehl, Joanne, editor,
On Louise Gluck: Change What You See
, Ann Arbor: University of Michigan Press, 2005,
ISBN
978-0-472-03062-0
- Gosmann, Uta,
Poetic Memory: The Forgotten Self in Plath, Howe, Hinsey, and Gluck
, Madison: Farleigh Dickinson University Press, 2011,
ISBN
978-1-61147-037-6
- Harrison, DeSales,
The End of the Mind: The Edge of the Intelligible in Hardy, Stevens, Larkin, Plath, and Gluck
, New York and London: Routledge, 2005,
ISBN
978-0-415-97029-7
- Morris, Daniel,
The Poetry of Louise Gluck: A Thematic Introduction
, Columbia: University of Missouri Press, 2006,
ISBN
978-0-8262-6556-2
- Upton, Lee,
The Muse of Abandonment: Origin, Identity, Mastery in Five American Poets
, Lewisburg: Bucknell University Press, 1998,
ISBN
978-0-8387-5396-5
- Upton, Lee,
Defensive Measures: The Poetry of Niedecker, Bishop, Gluck, and Carson
, Lewisburg: Bucknell University Press, 2005,
ISBN
978-0-8387-5607-2
- Vendler, Helen,
Part of Nature, Part of Us: Modern American Poets
, Cambridge: Harvard University Press, 1980,
ISBN
978-0-674-65475-4
- Zuba, Jesse,
The First Book: Twentieth-Century Poetic Careers in America
, Princeton: Princeton University Press, 2016,
ISBN
978-0-691-16447-2
External links
[
edit
]
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