Louise Glück, an American poet who just won the Nobel Prize in Literature

 

지난 10월 8일 미국 시인 루이즈 글릭, 2020년 노벨 문학상 수상소식을 접했다

몇 년 전 우리도 모 원로시인의 노벨문학상 가능성에 설레었던 기억이 새록새록...

그분은 지금 소위 문화계 미투문제로 명예와 존경, 모든 걸 잃어 버리고 칩거중이다 

한 때 존경하고 그분의 詩를 자주 암송했던 터라 충격이 많이 컸지만

인생사 새옹지마(人生史 塞翁之馬)라 하지 않았던가!....

왜 그렇게 사셨어요? 왜 그렇게 詩와 다르게 행동하셨어요? 왜 왜.....ㅡ,ㅡ

 

Anyway... Dear Louise Glück! Congratulations!!

 

미국 시인 루이즈 글릭, 2020년 노벨 문학상 수상

 

2020년 노벨 문학상을 수상한 루이즈 글릭의 2016년 모습. 워싱턴/EPA 연합뉴스

2020년 노벨 문학상은 미국 시인 루이즈 글릭(77)에게 돌아갔다.노벨 문학상 수상자 선정과 시상식을 주관하는 스웨덴 한림원은 8일(현지시각) <아베르노>의 작가 루이즈 글릭을 2020년 수상자로 선정했다고 발표했다.한림원은 “글릭은 꾸밈없는 아름다움을 갖춘 확고한 시적 목소리로 개인의 실존을 보편적으로 나타냈다”고 수상 이유를 밝혔다.1943년 미국 뉴욕에서 태어난 글릭은 현재 예일대 영문학과 교수다. 그는 1968년 시집 <맏이>로 문단에 등단한 뒤 미국 현대문학에서 가장 저명한 시인의 하나로 명성을 얻어왔다. 지금까지 12권의 시집과 시론을 출간했다.한림원은 “그의 시는 명징함으로 특징지을 수 있다”며 “어린 시절과 가정생활, 부모와 남매들과의 친밀한 관계에 초점을 맞추곤 했다”며 이번 수상으로 이어진 중심 주제를 설명했다. “고통스러운 가족관계를 잔인할 정도로 정면으로 다뤄, 시적인 장식이 없이 솔직하고 비타협적인 묘사가 돋보인다”는 평가다.아울러 “그는 시 속에서 자신의 꿈과 환상에 스스로 귀를 기울이면서, 누구보다도 자신의 환상과 정면으로 대응해왔다”고 한림원은 논평했다. 글릭은 자전적 배경의 중요성을 부인하지 않으면서도 자기고백적인 시인으로 평가되지 않는다고 한림원은 지적했다.그가 보편성을 추구한 작품 세계는 신화와 고전작품들의 모티브에서 얻은 영감으로 장식되어 있다. 대표 시집의 하나인 <아베르노>(2006)는 그리스 신화에서 죽음의 신인 하데스에게 붙잡혀 그의 지옥으로 떨어진 페르세포네 신화에 대한 시각적 해석으로 유명하다. 최근 시집인 <독실하고 고결한 밤> 역시 시각적으로 장대한 업적으로 평가받는다. 1993년 <야생 붓꽃>(The Wild Iris)으로 퓰리처상을 받았다.노벨 문학상은 2018년 수상자를 내지 못하고, 지난해 폴란드 작가 올가 토카르추크(58)를 2018년 수상자로, 오스트리아의 소설가이자 극작가 페터 한트케(78)를 2019년 수상자로 선정한 바 있다. 2018년 5월 한림원의 지원을 받은 사진작가가 여성 18명을 성폭행했다는 폭로가 나온 뒤 종신위원들이 대거 사퇴했고, 한림원이 종신위원과 수상위원회를 새로 꾸리는 데 시간이 걸렸기 때문이다.수상자는 전년까지 900만크로나의 상금을 받았으나, 올해부터는 1000만크로나(약 12억9900만원)를 받는다. 코로나19의 세계적 대유행으로, 평화상을 제외한 노벨상 수상자들은 고국에서 메달과 상장을 받게 되며, 이 모습이 텔레비전으로 중계될 예정이다. 정의길 선임기자 Egil@hani.co.kr

노벨문학상 수상 글릭, 퓰리처상·전미도서상 휩쓴 미 대표 시인2020노벨문학상 수상자 루이즈 글릭 신화와 역사·고전 소재로 개인 경험과 상처 보편 문제로 확장

 

2020노벨 문학상 수상자 르이즈 글릭.

노벨 문학상이 여성과 시인, 미국 작가에게 야박했다는 평을 의식했던 것일까. 올해 노벨 문학상 수상자로 선정된 미국의 여성 시인 루이즈 글릭은 스웨덴 한림원이 자신들을 향한 여러 따가운 시선을 두루 고려한 선택처럼 보인다.소설에 비해 상대적으로 대중성이 떨어지기 때문이겠지만, 루이즈 글릭은 적어도 한국 독자들에게는 생소한 이름이다. 그러나 그는 2003~2004년 미국 계관시인을 지냈으며 퓰리처상과 전미도서상 등 유수의 문학상을 수상한 미국 시단의 대표적 인물이다. 그는 <아킬레스의 승리>(1985)나 <아라라트>(1990) 같은 시집 제목에서 보다시피 그리스 신화와 성서를 비롯한 신화와 역사, 고전 등에서 소재를 취해 개인적 상실과 욕망을 명료하게 표현하는 시를 쓰는 시인이다. 그리고 그의 시에 동원된 개인적 경험과 상처는 인간 보편의 문제로 확장되고는 한다.글릭은 1943년 미국 뉴욕시에서 태어났다. 부모는 그가 어릴 적부터 그리스 신화와 잔다르크 이야기 같은 고전들을 가르쳤고 그는 어린 나이에 시를 쓰기 시작했다. 그는 고교 시절에 거식증을 앓았으며 그 때문에 대학에 진학하지 않고 정신분석 요법을 통한 치료에 집중했다. 그는 세라로런스대학과 컬럼비아대학의 시 창작반에 등록해 수업을 들었으며, 학교를 떠나서는 비서 업무로 생계를 해결했다.글릭은 1968년에 첫 시집 <맏이>를 출간했고 이 책은 몇몇 긍정적인 평을 듣기도 했지만, 글릭 자신은 그 뒤 한동안 집필 불능 상태에 빠졌다가 1971년 버몬트의 고더드대학에서 시를 가르치는 일을 맡으면서 슬럼프에서 벗어났다. 1975년에 두번째 시집 <습지대>를 펴냈고, 이 작품은 많은 비평가들로부터 “뚜렷한 목소리의 발견”이라는 호평을 받았다. 그는 1992년에 낸 시집 <야생 붓꽃>으로 이듬해 퓰리처상을 받았고, 2014년에 낸 시집 <독실하고 고결한 밤>으로 전미도서상을 받았다. 2004년에는 2001년 9월11일 세계무역센터 테러를 다룬 장시 <10월>을 펴냈다. 이 작품에서 그는 고대 그리스 신화를 동원해 트라우마와 고통의 양상들을 탐구했다. 이해에 그는 예일대 상주 작가로 임명되었다.

2016년 미국 워싱턴 백악관에서 열린 전미 인문학 메달 수여식에 앞서 버락 오바마 당시 미국 대통령이 수상자인 루이즈 글릭을 감싸안고 있다. 워싱턴/AP 연합뉴스

 

 

글릭은 언어적 정확성과 엄정한 어조를 지닌 서정시를 쓰는 시인으로 평가된다. 그는 거의 각운을 사용하지 않는 대신 반복과 구 걸치기(enjambment) 등의 기법으로 리듬을 확보한다. 그의 시는 자주 일인칭 화자를 동원하고 시인 자신의 개인사에서 촉발된 내면적인 주제를 다루기 때문에 자전적이며 고백적인 시로 분류되기도 하지만, 그것들은 어디까지나 허구적 장치라는 해석도 만만찮다. 주제 측면에서 글릭의 시는 죽음과 상실, 거절, 관계의 실패 같은 아픔과 치유 및 회복을 향한 시도를 노래한다. 그와 함께 사랑과 관심, 통찰, 그리고 진실을 전달하는 능력을 향한 갈망 역시 표현한다. 그의 시는 또한 자연에 대한 관심을 표나게 드러내는데, 가령 시집 <야생 붓꽃>에서는 정원의 꽃들이 지능과 감정을 지닌 주체들로 등장하기도 한다.양균원 대진대학교 교수는 <현대영미시연구> 2009년 가을호에 실은 논문 ‘자아의 부재에서 목소리를 내다―루이스 그릭’에서 “그릭(글릭)의 목소리는 가장 개인적인 고통의 순간을 표현하면서도 그것이 보다 포괄적인 인간의 문제에로 확장하도록 하는 언어에 의해 종래의 서정시에 새 가능성을 제시한다”고 평가했다.

(기사원문 - 최재봉 선임기자 bong@hani.co.kr)

 

 

favereys

favereys is my personal collection of favorite webarticles on arts and culture. Interspersed with some personal souvenirs and confessions. The name is a homage to the Dutch poet Hans Faverey. [ English pronunciation as favery. [ F - Fabulous | A - Adventurous | V - Victorious | E - Emphatic | R - Reassuring | Y - Yummy] & add the S]

 

 

 

 

 

 

 

Louise Glück : 17 poems

The Drowned Children

 

 You see, they have no judgment.

So it is natural that they should drown,

first the ice taking them in

and then, all winter, their wool scarves

floating behind them as they sink

until at last they are quiet.

And the pond lifts them in its manifold dark arms.

 

But death must come to them differently,

so close to the beginning.

As though they had always been

blind and weightless. Therefore

the rest is dreamed, the lamp,

the good white cloth that covered the table,

their bodies.

 

And yet they hear the names they used

like lures slipping over the pond:

What are you waiting for

come home, come home, lost

in the waters, blue and permanent.

 

 

Mock Orange

 

It is not the moon, I tell you.

It is these flowers

lighting the yard.

 

I hate them.

I hate them as I hate sex,

the man’s mouth

sealing my mouth, the man’s

paralyzing body—

 

and the cry that always escapes,

the low, humiliating

premise of union—

 

In my mind tonight

I hear the question and pursuing answer

fused in one sound

that mounts and mounts and then

is split into the old selves,

the tired antagonisms. Do you see?

We were made fools of.

And the scent of mock orange

drifts through the window.

 

How can I rest?

How can I be content

when there is still

that odor in the world?

 

 

 

The Pond

Night covers the pond with its wing.

Under the ringed moon I can make out

your face swimming among minnows and the small

echoing stars. In the night air

the surface of the pond is metal.

 

Within, your eyes are open. They contain

a memory I recognize, as though

we had been children together. Our ponies

grazed on the hill, they were gray

with white markings. Now they graze

with the dead who wait

like children under their granite breastplates,

lucid and helpless:

 

The hills are far away. They rise up

blacker than childhood.

What do you think of, lying so quietly

by the water? When you look that way I want

to touch you, but do not, seeing

as in another life we were of the same blood.

 

 

 

 The Fear of Burial

 In the empty field, in the morning,

the body waits to be claimed.

The spirit sits beside it, on a small rock--

nothing comes to give it form again.

 

Think of the body's loneliness.

At night pacing the sheared field,

its shadow buckled tightly around.

Such a long journey.

 

And already the remote, trembling lights of the village

not pausing for it as they scan the rows.

How far away they seem,

the wooden doors, the bread and milk

laid like weights on the table.

 

 

Lamentations

1. The Logos

 

They were both still,

the woman mournful, the man

branching into her body.

 

But God was watching.

They felt his gold eye

projecting flowers on the landscape.

 

Who knew what He wanted?

He was God, and a monster.

So they waited. And the world

filled with His radiance,

as though He wanted to be understood.

 

Far away, in the void that He had shaped,

he turned to his angels.

 

2. Nocturne

 

A forest rose from the earth.

O pitiful, so needing

God’s furious love—

 

Together they were beasts.

They lay in the fixed

dusk of His negligence;

from the hills, wolves came, mechanically

drawn to their human warmth,

their panic.

 

Then the angels saw

how He divided them:

the man, the woman, and the woman’s body.

 

Above the churned reeds, the leaves let go

a slow moan of silver.

 

3. The Covenant

 

Out of fear, they built a dwelling place.

But a child grew between them

as they slept, as they tried

to feed themselves.

 

They set it on a pile of leaves,

the small discarded body

wrapped in the clean skin

of an animal. Against the black sky

they saw the massive argument of light.

 

Sometimes it woke. As it reached its hands

they understood they were the mother and father,

there was no authority above them.

 

4. The Clearing

 

Gradually, over many years,

the fur disappeared from their bodies

until they stood in the bright light

strange to one another.

Nothing was as before.

Their hands trembled, seeking

the familiar.

 

Nor could they keep their eyes

from the white flesh

on which wounds would show clearly

like words on a page.

 

And from the meaningless browns and greens

at last God arose, His great shadow

darkening the sleeping bodies of His children,

and leapt into heaven.

 

How beautiful it must have been,

the earth, that first time

seen from the air.

 

 

Siren

I became a criminal when I fell in love.

Before that I was a waitress.

 

I didn't want to go to Chicago with you.

I wanted to marry you, I wanted

Your wife to suffer.

 

I wanted her life to be like a play

In which all the parts are sad parts.

 

Does a good person

Think this way? I deserve

 

Credit for my courage--

 

I sat in the dark on your front porch.

Everything was clear to me:

If your wife wouldn't let you go

That proved she didn't love you.

If she loved you

Wouldn't she want you to be happy?

 

I think now

If I felt less I would be

A better person. I was

A good waitress.

I could carry eight drinks.

 

I used to tell you my dreams.

Last night I saw a woman sitting in a dark bus--

In the dream, she's weeping, the bus she's on

Is moving away. With one hand

She's waving; the other strokes

An egg carton full of babies.

 

The dream doesn't rescue the maiden.

 

Celestial Music

 

I have a friend who still believes in heaven.

Not a stupid person, yet with all she knows, she literally talks to God.

She thinks someone listens in heaven.

On earth she's unusually competent.

Brave too, able to face unpleasantness.

 

We found a caterpillar dying in the dirt, greedy ants crawling over it.

I'm always moved by disaster, always eager to oppose vitality

But timid also, quick to shut my eyes.

Whereas my friend was able to watch, to let events play out

According to nature. For my sake she intervened

Brushing a few ants off the torn thing, and set it down

Across the road.

 

My friend says I shut my eyes to God, that nothing else explains

My aversion to reality. She says I'm like the child who

Buries her head in the pillow

So as not to see, the child who tells herself

That light causes sadness-

My friend is like the mother. Patient, urging me

To wake up an adult like herself, a courageous person-

 

In my dreams, my friend reproaches me. We're walking

On the same road, except it's winter now;

She's telling me that when you love the world you hear celestial music:

Look up, she says. When I look up, nothing.

Only clouds, snow, a white business in the trees

Like brides leaping to a great height-

Then I'm afraid for her; I see her

Caught in a net deliberately cast over the earth-

 

In reality, we sit by the side of the road, watching the sun set;

From time to time, the silence pierced by a birdcall.

It's this moment we're trying to explain, the fact

That we're at ease with death, with solitude.

My friend draws a circle in the dirt; inside, the caterpillar doesn't move.

She's always trying to make something whole, something beautiful, an image

Capable of life apart from her.

We're very quiet. It's peaceful sitting here, not speaking, The composition

Fixed, the road turning suddenly dark, the air

Going cool, here and there the rocks shining and glittering-

It's this stillness we both love.

The love of form is a love of endings.

 

 

End of Winter

 

Over the still world, a bird calls

waking solitary among black boughs.

 

You wanted to be born; I let you be born.

When has my grief ever gotten

in the way of your pleasure?

 

Plunging ahead

into the dark and light at the same time

eager for sensation

 

as though you were some new thing, wanting

to express yourselves

 

all brilliance, all vivacity

 

never thinking

this would cost you anything,

never imagining the sound of my voice

as anything but part of you—

 

you won't hear it in the other world,

not clearly again,

not in birdcall or human cry,

 

not the clear sound, only

persistent echoing

in all sound that means good-bye, good-bye—

 

the one continuous line

that binds us to each other.

Vespers [In your extended absence, you permit me]

In your extended absence, you permit me

use of earth, anticipating

some return on investment. I must report

failure in my assignment, principally

regarding the tomato plants.

I think I should not be encouraged to grow

tomatoes. Or, if I am, you should withhold

the heavy rains, the cold nights that come

so often here, while other regions get

twelve weeks of summer. All this

belongs to you: on the other hand,

I planted the seeds, I watched the first shoots

like wings tearing the soil, and it was my heart

broken by the blight, the black spot so quickly

multiplying in the rows. I doubt

you have a heart, in our understanding of

that term. You who do not discriminate

between the dead and the living, who are, in consequence,

immune to foreshadowing, you may not know

how much terror we bear, the spotted leaf,

the red leaves of the maple falling

even in August, in early darkness: I am responsible

for these vines.

The Wild Iris

At the end of my suffering

there was a door.

 

Hear me out: that which you call death

I remember.

 

Overhead, noises, branches of the pine shifting.

Then nothing. The weak sun

flickered over the dry surface.

 

It is terrible to survive

as consciousness

buried in the dark earth.

 

Then it was over: that which you fear, being

a soul and unable

to speak, ending abruptly, the stiff earth

bending a little. And what I took to be

birds darting in low shrubs.

 

You who do not remember

passage from the other world

I tell you I could speak again: whatever

returns from oblivion returns

to find a voice:

 

from the center of my life came

a great fountain, deep blue

shadows on azure sea water.

Anniversary

I said you could snuggle. That doesn’t mean

your cold feet all over my dick.

 

Someone should teach you how to act in bed.

What I think is you should

keep your extremities to yourself.

 

Look what you did—

you made the cat move.

 

But I didn’t want your hand there.

I wanted your hand here.

 

You should pay attention to my feet.

You should picture them

the next time you see a hot fifteen year old.

Because there’s a lot more where those feet come from.

 

 

Parable of the Swans

On a small lake off

the map of the world, two

swans lived. As swans,

they spent eighty percent of the day studying

themselves in the attentive water and

twenty percent ministering to the beloved

other. Thus

their fame as lovers stems

chiefly from narcissism, which leaves

so little leisure for

more general cruising. But

fate had other plans: after ten years, they hit

slimy water; whatever the filth was, it

clung to the male’s plumage, which turned

instantly gray; simultaneously,

the true purpose of his neck’s

flexible design revealed itself. So much

action on the flat lake, so much

he’s missed! Sooner or later in a long

life together, every couple encounters

some emergency like this, some

drama which results

in harm. This

occurs for a reason: to test

love and to demand

fresh articulation of its complex terms.

So it came to light that the male and female

flew under different banners: whereas

the male believed that love

was what one felt in one’s heart

the female believed

love was what one did. But this is not

a little story about the male’s

inherent corruption, using as evidence the swan’s

sleazy definition of purity. It is

a story of guile and innocence. For ten years

the female studied the male; she dallied

when he slept or when he was

conveniently absorbed in the water,

while the spontaneous male

acted casually, on

the whim of the moment. On the muddy water

they bickered awhile, in the fading light,

until the bickering grew

slowly abstract, becoming

part of their song

after a little longer.

 

 

Vita Nova

You saved me, you should remember me.

 

The spring of the year; young men buying tickets for the ferryboats.

Laughter, because the air is full of apple blossoms.

 

When I woke up, I realized I was capable of the same feeling.

 

I remember sounds like that from my childhood,

laughter for no cause, simply because the world is beautiful,

something like that.

 

Lugano. Tables under the apple trees.

Deckhands raising and lowering the colored flags.

And by the lake’s edge, a young man throws his hat into the water;

perhaps his sweetheart has accepted him.

 

Crucial

sounds or gestures like

a track laid down before the larger themes

 

and then unused, buried.

 

Islands in the distance. My mother

holding out a plate of little cakes—

 

as far as I remember, changed

in no detail, the moment

vivid, intact, having never been

exposed to light, so that I woke elated, at my age

hungry for life, utterly confident—

 

By the tables, patches of new grass, the pale green

pieced into the dark existing ground.

 

Surely spring has been returned to me, this time

not as a lover but a messenger of death, yet

it is still spring, it is still meant tenderly.

 

The Empty Glass

I asked for much; I received much.

I asked for much; I received little, I received

next to nothing.

 

And between? A few umbrellas opened indoors.

A pair of shoes by mistake on the kitchen table.

 

O wrong, wrong—it was my nature. I was

hard-hearted, remote. I was

selfish, rigid to the point of tyranny.

 

But I was always that person, even in early childhood.

Small, dark-haired, dreaded by the other children.

I never changed. Inside the glass, the abstract

tide of fortune turned

from high to low overnight.

 

Was it the sea? Responding, maybe,

to celestial force? To be safe,

I prayed. I tried to be a better person.

Soon it seemed to me that what began as terror

and matured into moral narcissism

might have become in fact

actual human growth. Maybe

this is what my friends meant, taking my hand,

telling me they understood

the abuse, the incredible shit I accepted,

implying (so I once thought) I was a little sick

to give so much for so little.

Whereas they meant I was good (clasping my hand intensely)—

a good friend and person, not a creature of pathos.

 

I was not pathetic! I was writ large,

like a queen or a saint.

 

Well, it all makes for interesting conjecture.

And it occurs to me that what is crucial is to believe

in effort, to believe some good will come of simply trying,

a good completely untainted by the corrupt initiating impulse

to persuade or seduce—

 

What are we without this?

Whirling in the dark universe,

alone, afraid, unable to influence fate—

 

What do we have really?

Sad tricks with ladders and shoes,

tricks with salt, impurely motivated recurring

attempts to build character.

What do we have to appease the great forces?

 

And I think in the end this was the question

that destroyed Agamemnon, there on the beach,

the Greek ships at the ready, the sea

invisible beyond the serene harbor, the future

lethal, unstable: he was a fool, thinking

it could be controlled. He should have said

I have nothing, I am at your mercy.

 

Mother and Child

We’re all dreamers; we don’t know who we are.

 

Some machine made us; machine of the world, the constricting family.

Then back to the world, polished by soft whips.

 

We dream; we don’t remember.

 

Machine of the family: dark fur, forests of the mother’s body.

Machine of the mother: white city inside her.

 

And before that: earth and water.

Moss between rocks, pieces of leaves and grass.

 

And before, cells in a great darkness.

And before that, the veiled world.

 

This is why you were born: to silence me.

Cells of my mother and father, it is your turn

to be pivotal, to be the masterpiece.

 

I improvised; I never remembered.

Now it’s your turn to be driven;

you’re the one who demands to know:

 

Why do I suffer? Why am I ignorant?

Cells in a great darkness. Some machine made us;

it is your turn to address it, to go back asking

what am I for? What am I for?

 

 

 

 

A Village Life

 

The death and uncertainty that await me

as they await all men, the shadows evaluating me

because it can take time to destroy a human being,

the element of suspense

needs to be preserved—

 

On Sundays I walk my neighbor’s dog

so she can go to church to pray for her sick mother.

 

The dog waits for me in the doorway. Summer and winter

we walk the same road, early morning, at the base of the escarpment.

Sometimes the dog gets away from me—for a moment or two,

I can’t see him behind some trees. He’s very proud of this,

this trick he brings out occasionally, and gives up again

as a favor to me—

 

Afterward, I go back to my house to gather firewood.

 

I keep in my mind images from each walk:

monarda growing by the roadside;

in early spring, the dog chasing the little gray mice

 

so for a while it seems possible

not to think of the hold of the body weakening, the ratio

of the body to the void shifting,

 

and the prayers becoming prayers for the dead.

 

Midday, the church bells finished. Light in excess:

still, fog blankets the meadow, so you can’t see

the mountain in the distance, covered with snow and ice.

 

When it appears again, my neighbor thinks

her prayers are answered. So much light she can’t control her happiness—

it has to burst out in language. Hello, she yells, as though

that is her best translation.

 

She believes in the Virgin the way I believe in the mountain,

though in one case the fog never lifts.

But each person stores his hope in a different place.

 

I make my soup, I pour my glass of wine.

I’m tense, like a child approaching adolescence.

Soon it will be decided for certain what you are,

one thing, a boy or girl. Not both any longer.

And the child thinks: I want to have a say in what happens.

But the child has no say whatsoever.

 

When I was a child, I did not foresee this.

 

Later, the sun sets, the shadows gather,

rustling the low bushes like animals just awake for the night.

Inside, there’s only firelight. It fades slowly;

now only the heaviest wood’s still

flickering across the shelves of instruments.

I hear music coming from them sometimes,

even locked in their cases.

 

When I was a bird, I believed I would be a man.

That’s the flute. And the horn answers,

When I was a man, I cried out to be a bird.

Then the music vanishes. And the secret it confides in me

vanishes also.

 

In the window, the moon is hanging over the earth,

meaningless but full of messages.

 

It’s dead, it’s always been dead,

but it pretends to be something else,

burning like a star, and convincingly, so that you feel sometimes

it could actually make something grow on earth.

 

If there’s an image of the soul, I think that’s what it is.

 

I move through the dark as though it were natural to me,

as though I were already a factor in it.

Tranquil and still, the day dawns.

 

On market day, I go to the market with my lettuces.

 

 

 

 

 

 

 

 

A Sharply Worded Silence

Let me tell you something, said the old woman.

We were sitting, facing each other,

in the park at ___, a city famous for its wooden toys.

 

At the time, I had run away from a sad love affair,

and as a kind of penance or self punishment, I was working

at a factory, carving by hand the tiny hands and feet.

 

The park was my consolation, particularly in the quiet hours

after sunset, when it was often abandoned,

But on this evening, when I entered what was called the Contessa’s Garden,

I saw that someone had preceded me. It strikes me now

I could have gone ahead, but I had been

set on this destination; all day I had been thinking of the cherry trees

with which the glade was planted, whose time of blossoming had nearly ended.

 

We sat in silence. Dusk was falling,

and with it came a feeling of enclosure

as in a train cabin.

 

When I was young, she said, I liked walking the garden path at twilight

and if the path was long enough I would see the moon rise.

That was for me the great pleasure: not sex, not food, not worldly amusement.

I preferred the moon’s rising, and sometimes I would hear,

at the same moment, the sublime notes of the final ensemble

of The Marriage of Figaro. Where did the music come from?

I never knew.

 

Because it is the nature of garden paths

to be circular, each night, after my wanderings,

I would find myself at my front door, staring at it,

barely able to make out, in darkness, the glittering knob.

 

It was, she said, a great discovery, albeit my real life.

 

But certain nights, she said, the moon was barely visible through the clouds

and the music never started. A night of pure discouragement.

And still the next night I would begin again, and often all would be well.

 

I could think of nothing to say. This story, so pointless as I write it out,

was in fact interrupted at every stage with trance-like pauses

and prolonged intermissions, so that by this time night had started.

 

Ah the capacious night, the night

so eager to accommodate strange perceptions. I felt that some important secret

was about to be entrusted to me, as a torch is passed

from one hand to another in a relay.

 

My sincere apologies, she said.

I had mistaken you for one of my friends.

And she gestured toward the statues we sat among,

heroic men, self-sacrificing saintly women

holding granite babies to their breasts.

Not changeable, she said, like human beings.

 

I gave up on them, she said.

But I never lost my taste for circular voyages.

Correct me if I’m wrong.

 

Above our heads, the cherry blossoms had begun

to loosen in the night sky, or maybe the stars were drifting,

drifting and falling apart, and where they landed

new worlds would form.

 

Soon afterward I returned to my native city

and was reunited with my former lover.

And yet increasingly my mind returned to this incident,

studying it from all perspectives, each year more intensely convinced,

despite the absence of evidence, that it contained some secret.

I concluded finally that whatever message there might have been

was not contained in speech—so, I realized, my mother used to speak to me,

her sharply worded silences cautioning me and chastizing me—

 

and it seemed to me I had not only returned to my lover

but was now returning to the Contessa’s Garden

in which the cherry trees were still blooming

like a pilgrim seeking expiation and forgiveness,

 

so I assumed there would be, at some point,

a door with a glittering knob,

but when this would happen and where I had no idea.

 

 

♧more information on Louise Glück :

Louise Glück, a former Poet Laureate of the United States, is the author of over a dozen books of poetry including Faithful and Virtuous Night (winner of the National Book Award for Poetry) and her recent anthology, Poems: 1962-2012. Pulitzer Prize winner Robert Hass has called her “one of the purest and most accomplished lyric poets now writing.”

Glück taught at Williams College for 20 years and is currently Rosenkranz writer-in-residence at Yale University. She is a member of the American Academy of Arts and Letters, and in 1999 was elected a Chancellor of the Academy of American Poets. Her numerous books of poetry include A Village Life (2009), The Seven Ages (2001), and The Wild Iris (1992), for which she received the Pulitzer Prize. Louise Glück says of writing, “[It] is not decanting of personality. The truth, on the page, need not have been lived. It is, instead, all that can be envisioned.”

 

Louise Glück with Peter Streckfus, Conversation. Recorded at the Lensic Theater in Santa Fe, New Mexico on May 11, 2016. This was a Lannan Literary event.

 

 

Louise Glück, is introduced by Peter Streckfus and then read from her work.

 

A Lannan Literary event.

 

Poetry Foundation

 

Stand-Up Vampire. By Gillian White. London Review of Books , September 26, 2013.

 

Acquainted With the Dark. By Peter Campion. New York Times , September 26, 2014