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The First Five Books of Poems
Categories: 20th Century, American, Women
Imprint: Carcanet Poetry
Publisher: Carcanet Press
Paperback (244 pages)
(Pub. May 1997)
Embracing in the road
for some reason I no longer remember
and then drawing apart, seeing
that shape ahead -- how close was it?
We looked up to where the hawk
hovered with its kill; I watched them
veering toward West Hill, casting
their one shadow in the dirt, the all-inclusive
shape of the predator --
Then they disappeared. And I thought:
one shadow. Like the one we made,
you holding me.
Recipient of the Nobel Prize in Literature 2020
In an essay Louise Gluck says that every end of a book is for her a 'conscious diagnostic act, a swearing off', in which she discerns the themes, habits and preoccupations of the previous volume as defining the tasks of the next.
The First Five Books of Poems shows the poet in the conscious evolution she describes, marking time in changes. Readers will hear specifics of sequence: where the ferocious tension of her first book moves towards the finely-spun lyricism of the second. The nouns of that book acquire more intimate weight and become the icons of her third collection, then rise to an archetypal, mythic scale in the fourth. These poems are as various as the force of Gluck's intelligence is constant. The austerely beautiful voice that has become Gluck's' keynote speaks of a life lived in unflinching awareness.
'She is a poet of enormous importance and intelligence,' wrote Bernard O'Donoghue in the Independent; 'we must not miss her.'
The First Five Books of Poems includes Firstborn (1968), The House on Marshland (1975), Descending Figure (1980), The Triumph of Achilles (1985) and Ararat (1990).
Awards won by Louise Glück Short-listed, 2014 Forward Prize for Best Collection (Faithful and Virtuous Night) Short-listed, 2014 T. S. Eliot Prize (Faithful and Virtuous Night) Winner, 1993 Pulitzer Prize (The Wild Iris)
Praise for Louise Glück 'Her writing's emotional and rhetorical intensity are beyond dispute. Not once in six books has she wavered from a formal seriousness, an unhurried sense of control and a starkness of expression that, like a scalpel, slices the mist dwelling between hope and pain.'
Washington Post 'Gluck stands at the centre of time and speaks, not with raw emotion or linguistic abandon, but with the ageless urgency of questions about the soul.'
Partisan Review 'Characteristically sure-footed, Glück speaks to our time in a voice that is onstage, but heard from the wings.'
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