Poems 1962-2012
A poetry collection that traces a mind suspended between restraint and impulse in lucid, spare language.
Work Information
Hesitation and resolve reverberate within the same voice.
Carl Phillips condenses body, desire, and self-knowledge into a collection of concentrated poems.
Book Information
- Publisher
- Farrar Straus & Giroux
- Published
- 2012-11-13
- Pages
- 634 pages
- Language
- 英語
- Size
- 16.03 x 5.41 x 23.52 cm
- ISBN-13
- 9780374126087
- ISBN-10
- 0374126089
- Price
- 53614 JPY
- Category
- 洋書/Literature & Fiction/Poetry/American
It is the astonishment of Louise Glück's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscapePersephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountainpersistently emerge and reappear with the dark energy of the inevitable, shot through with the bright aspect of things new-made. From the outset (" Come here / Come here, little one "), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "do not see the intervening fathoms." From within the earth's bitter disgrace, coldness and barrenness my friend the moon rises: she is beautiful tonight, but when is she not beautiful? To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.
Louise Glück is the author of eleven books of poems and a collection of essays. Her many awards include the Pulitzer Prize, the National Book Critics Circle Award, the Bollingen Prize for Poetry, and the Wallace Stevens Award from the Academy of American Poets. She teaches at Yale University and lives in Cambridge, Massachusetts.
Reviews
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ナイスな購入。
ちょうどノーベル文学賞を受賞した時期だったのでナイスタイミングでした。
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How did this drivel win a Nobel prize?
Pretentious doggerel with nothing to recommend it. Not blank verse; just rhythmless prose with random line breaks inserted in a poor imitation of poetry. Moreover, the prose is terrible, filled with a surfeit of unnecessary adjectives. The overwhelming impression is of a 10-year-old with a thesaurus. Perhaps it’s better when translated into Swedish?
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初めて読むノーベル文学賞作家の詩
①この作家がノーベル文学賞を受賞した知らせを聞いたのは少し前である。Kindleで彼女の詩集を購入し、「エロス」というタイトルの詩を読んでみた。 ②概要はこんな感じだ。「ホテルの窓際のの椅子に腰掛けて雨を見ていた。私は夢うつつ、トランス状態のようだったー恋に、それでも何も欲しなかった。あなたの体に触れ、再会するまでもないようだ。私が欲したのはーこの部屋、この椅子、降りしきる雨音だった、何時間か経って春の夜の温もりの中で。これ以上は何もいらない。私はすっかり満足だった。私の心は小さくなっていった。それを満たすにはあまりにも小さくなりすぎていた。」 ③恋の終わりー＜心＞の消失。見えるものは＜事物＞のみ。＜心＞と＜事物＞が対になる。＜心＞(恋心)がなくなったので、周りの＜事物＞だけが目に入る。恋はもはや「夢うつつ」でしかなく、＜事物＞(部屋・椅子・雨音)のような実在感・存在感はない。 ④＜事物＞の存在が＜心(恋心)＞の消失を雄弁に語る詩である。 書き手が男に今でも恋心があるのか、ないのか、男に棄てられたのか、男を棄てたのかについてはわからない。どちらでも良い。 ⑤このような詩であれば素人にも分かるし、読める。誰でも読めて、面白く、味わい深い詩を書いた作家なのだろう。この失恋の詩(小品)はなかなかに味わい深い。 ⑥タイトルを「失恋」ではなく、「エロース」(eros)としたのはなぜだろう。プラトン『饗宴』では、ディオティマが愛の女神(エロース)は人間の肉体に宿るものであるから、情欲を免れない不完全な存在であると説くが、プラトンは「エロース」をイデア(真存在)を愛し求める思慕の念とした。「エロース」を本当の愛を愛し求める満たされない心と捉えても良いのではないか？ とすれば、書き手はまだかつて愛した男を夢の中で愛し求めているのかもしれない。 色々な解釈が成り立つようだ。 これが詩を読む楽しみなのかもしれない。 お勧めの一冊だ。
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Bueno
Quería leer a esta autora y este libro está muy bien en tanto que es su poesía completa (hasta ahora).
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A substantial volume
I came to Gluck via her poems in Wild Iris and it's been wonderful to read her more deeply in this beautifully presented book. I'm really enjoying discovering earlier poems and themes and exploring the poet's development and progression.
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Grande poesia
La complejidad de las cosas simples. ¿O es al revés?
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A monument
50 years of incredible poetry and 50 years of thoughts a lot of us are afraid to think, let alone write those down. She's one of the greats and the book gives ample space to each poem.
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Powerful, original poetry
I really didn't know what to think of these poems at first. I was put off by the earlier poems, first in the volume; their imagery was too strange. However, Gluck's voice grew on me, and I began to read her every evening, and I was regretful when I reached the end of the book. She has a powerful vision which gets under a person's skin.