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Louise Gluck (77 years old) has never been absent from the modern poetic map of the United States of America and the world. His coronation with the Nobel Prize yesterday may be considered a reconsideration of poetry, lyric in particular, but Glock’s restriction to this field may be somewhat unfair, as it relies on richer rhetorical methods than traditional lyrical structures. as the influences at the heart of this poetry overlap. In an open space of voices of debate, or in a specific order and infiltration, which gives it a narrative dimension. A fan of Louise Gluck’s poetry can range from the personal intimate poem, through dialogue, to religious solemnity to epic parody, as in Joyce’s Ulysses, where the poet recounts her life, albeit in a satirical way according to the Homeri stencil.
The cultural mosaic in Glock’s poetry is what made his poetic vision a diverse and contradictory substance on the part of critics, as critic Helen Vendler described Glock’s style as “lyrical with a high pulse, as on the tripod of Delphi, which does not reveal a social prophecy, but a spiritual prophecy, in a tone that only a few women dared to adopt. Anyone who delves into Gluck’s poetry can discern three main features, including intertextuality, French feminism, and Lacan’s theory of psychoanalysis. The critic Eric Salinger, for example, reads his great text “Ararat” in light of Julia Kristeva’s theory of love and her psychological proposal based on identification with “a hypothetical father.” While Diane Bond treats the poem “All Holies” with a feminist barometer derived from Lacan’s link between language acquisition and feminist denial of the complex symbolism of mother-fetus communication, while other critical studies have referred to this poetry as “immersed in the biological, psychological and spiritual experience of the feminine space”. In all its manifestations – like a daughter; A sister, a lover and a mother in the America of the 20th century. If something confirms this wide critical range, it is in the sensitive themes that this poetry deals with, such as motherhood, masculine authority, psychoanalysis and nature, where language “reverberates between statement and allusion”, says Vendler.
Glock, who was born in New York in 1943, during his poetic career that extends to the present day, published nearly twenty collections of poetry and literary texts, beginning with his first collection, “The First Born” (1968), and his second. book, “A House in Marshland” (1975), which was considered as A review of the literary romance and poetry of nature, until works that won numerous awards, for his book “The tests and theories” in 1993, which was considered a poetic will, going through the Pulitzer Prize for his most outstanding book, “The Wild Iris.” In 1993, the National Book Award from the Department of Literary Criticism for his book “The Triumph of Achilles” in 1985, and the “Bollingen Award” for the book “The Seven Ages” in 2001. In 2003, he won the Twelfth Grand Prize of Poetry in the United States, succeeding Billy Collins, and the “Plato de Oro” (2012) for his overall poetic achievement, while in November 2014 he won the National Book Award for his collection “Una Noche Satisfecha y Justa” . . He is also a permanent member of the “Yale University” committee for the Young Poets Series.
His work ranges from the personal intimate poem, through dialogue, to the religious solemnity of the epic simulation.
In Gluck’s poetry a religious and mythological nerve is created, in it personal narratives with general connotations are created, borrowing masks of mythical characters from the Old Testament (Moses), from history (Joan of Arc), from the founding myths of poetry (Orpheus and Euripides), and of fairy tales (Gretel), Give this poetry a spiritual tinge tinged by Gnosticism as well as by ancient Hebrew traditions. In the approved classification of contemporary American poetry, where poetry written after World War II is classified by a “postmodern” school or movement to distinguish this poetry from modernist poetry that appeared with TS. Elliott, Ezra Pound and Frost in the 1920s, Glock’s poetry could not be fully classified in the category of postmodern “revolutionary” poetry, the deaths of which stem from influences such as concentration camps, Auschwitz, racial discrimination, ecological movement, hippies, drugs, digital revolution and space travel. It also does not fit with Elliott’s statement in his critical articles that good poetry is always “impersonal”, since in Louise Gluck’s poetry that mixture of song, hymn, ritual, invocation and primitive and everyday myth is used in a tone confessional autobiographical in moments in which the impact of traumatic events in the life of the poet is clearly visible. And her profound influence on her relationship with her family members, lovers, and the nature that surrounds her, so each of these losses forms a special epic. In the end, it is a combination that takes the hand of the reader to understand and accept the tone and spirit of the poem. A “frank poet” like Louise Gluck was crowned with the Nobel Prize after many rounds of novelists (Ichiguro and Tugarchuk) and singer (Bob Dylan) rehabilitating poetry, especially contemporary American, who has always left his own mark on history. world literature from Elliot’s “good land”, and Pound’s “Kanto” poems, through that amazing generation of Bishop, Plath, Play, Merwin, Levertoff, Kaufman, Frank O’Hara, and Ginsburg’s poems recorded in a cassette during his travels, to Louise Gluck proving that poetry still grows in the garden of the domesticated world like a wild lily, rising to the rhythm of its buds each time. another thing.
* A single work by Louis Gluck, entitled “A burning wheel passes over us”, was translated from “Camel Publications” translated by Samer Abu Hawash, 2009. Kalimat also published in a previous issue a lot of his poems translated by Muhammad al-Hamwi, including translated text above)
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