The Nobel Laureate Louise Glück in The New Yorker

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The Nobel Laureate Louise Glück in The New Yorker
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Hannah Aizenman tracks Louise Glück’s poetic trajectory through her work in The New Yorker.

Though Glück’s first poems in the magazine belong to a style she soon abandoned, they establish themes and attitudes that have carried through her career. “Late Snow” and “The Racer’s Widow” unsparingly intertwine mortality with intimacy; “Letter from Provence” lampoons the tourist’s tendency to romanticize and thus obscure the real.

“Prism,” a haunting long poem that The New Yorker published, in 2003, shows how a single life is refracted through memory, art, and love . Childhood and its ending provide a central subject for Glück, who here turns over and recombines certain elements, repeating lines and motifs within and across sections, to results at once searching and highly controlled; the potentially infinite realm of the imagination runs up against the confines of the body, not to mention of social expectation.

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NewYorker /  🏆 90. in US

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