NEW YORK (AP) 鈥� a poet of unblinking candor and perception who wove classical allusions, philosophical reveries, bittersweet memories and humorous asides into indelible portraits of a fallen and heartrending world, has died at 80.
Gl眉ck's death was confirmed Friday by Jonathan Galassi, her editor at Farrar, Straus & Giroux. She died of cancer at her home in Cambridge, Massachusetts, according to her publisher. A former student of Gl眉ck's, the Pulitzer Prize-winning poet Jorie Graham, said that the author had only recently been diagnosed.
鈥淚 find it very much like her that she only learned she had cancer a few days before dying from it,鈥� Graham said. 鈥淗er whole sensibility 鈥� both on and off the page 鈥� was cut that close to the spine of time.鈥�
In a career spanning more than 60 years, Gl眉ck forged a narrative of trauma, disillusion, stasis and longing, spelled by moments 鈥� but only moments 鈥� of ecstasy and contentment. In awarding her the first time an American poet had been honored since T.S. Eliot in 1948, Nobel judges praised 鈥渉er unmistakable poetic voice that with austere beauty makes individual existence universal.鈥�
Gl眉ck鈥檚 poems were often brief, a page or less in length, exemplars of her attachment to 鈥渢he unsaid, to suggestion, to eloquent, deliberate silence.鈥� Influenced by Shakespeare, Greek mythology and Eliot among others, she questioned and at times dismissed outright the bonds of love and sex, what she called the 鈥減remise of union鈥� in her most famous poem, 鈥淢ock Orange.鈥� In some ways, life for Gl眉ck was like a troubled romance 鈥� fated for unhappiness, but meaningful because pain was our natural condition 鈥� and preferable to what she assumed would follow.
鈥淭he advantage of poetry over life is that poetry, if it is sharp enough, may last,鈥� she once wrote.
In her poem 鈥淪ummer,鈥� the narrator addresses her husband and remembers 鈥渢he days of our first happiness,鈥� when everything seemed to have 鈥渞ipened.鈥�
Then the circles closed. Slowly the nights grew cool;
the pendant leaves of the willow
yellowed and fell. And in each of us began
a deep isolation, though we never spoke of this,
of the absence of regret.
We were artists again, my husband.
We could resume the journey.
Poet a Pulitzer winner, said in a statement Friday that Gl眉ck鈥檚 poetry had 鈥渟aved鈥� her many times.
鈥淚 think constantly of these lines from 鈥楾he Wild Iris鈥�: 鈥楢t the end of my suffering / there was a door.鈥� And of these lines from 鈥楾he House on Marshland鈥�: 'The darkness lifts, imagine, in your lifetime.' It is as if her spare, patient syntax forms a path into and through the weight of living,鈥� she wrote.
Gl眉ck published more than a dozen books of poetry, along with essays and a She drew upon everything from Penelope鈥檚 weaving in 鈥淭he Odyssey鈥� to an unlikely muse, the which inspired her to ask: 鈥淗ow could the Giants name/that place the Meadowlands? It has/about as much in common with a pasture/as would the inside of an oven.鈥�
In 1993, she won for 鈥淭he Wild Iris,鈥� an exchange in part between a beleaguered gardener and a callous deity. 鈥淲hat is my heart to you/that you must break it over and over,鈥� the gardener wonders. The god answers: 鈥淢y poor inspired creation ... You are/too little like me in the end/to please me.鈥�
Her other books included the collections 鈥淭he Seven Ages,鈥� 鈥漈he Triumph of Achilles,鈥� 鈥淰ita Nova鈥� and a highly acclaimed anthology, 鈥淧oems 1962-2012.鈥� Besides winning the Pulitzer, she received the Bollingen Prize in 2001 for lifetime achievement and in 2014 for 鈥淔aithful and Virtuous Night.鈥� She was the U.S. poet laureate in 2003-2004 and was awarded a National Humanities Medal in 2015 for her 鈥渄ecades of powerful lyric poetry that defies all attempts to label it definitively.鈥�
Gl眉ck was married and divorced twice and had a son, Noah, with her second husband, John Darnow. She taught at several schools, including Stanford University and Yale University, and regarded her experiences in the classroom not as a distraction from her poetry, but as a 鈥減rescription for lassitude.鈥� Students would remember her as demanding and inspiring, not above making someone cry, but also valued for guiding young people in search of their own voices.
鈥淵ou would hand in something and Louise would find the one line that worked,鈥� the poet who studied under Gl眉ck at Williams College, told The Associated Press in 2020. 鈥淭here was no place for the niceties of mediocrity, no false praise. When Louise speaks you believe her because she doesn鈥檛 hide inside of civility.鈥�
A native of New York City who grew up on Long Island, New York, she was a descendant of Eastern European Jews and heir to an everyday creation not associated with poetry: Her father helped invent the X-Acto knife. Her mother, Gl眉ck would write, was the family鈥檚 鈥渕aid-of-all-work moral leader,鈥� the one whose assessment of her stories and poems she looked to above all others. Gl眉ck was also the middle of three sisters, one of whom died before was she born, a tragedy she seemed to refer to in her poem 鈥淧arados.鈥�
Long ago, I was wounded.
I learned
to exist, in reaction,
out of touch
with the world: I鈥檒l tell you
what I meant to be -
a device that listened.
Not inert: still.
A piece of wood. A stone.
Describing herself as born to 鈥渂ear witness,鈥� Gl眉ck felt at home with the written word and regarded the English language as her gift, even her 鈥渋nheritance.鈥� But as a teenager, she was so intensely ambitious and self-critical that she waged war with her own body. She suffered from anorexia, dropped to 75 pounds (34 kilograms) and was terrorized by her mortality. Her life, creative and otherwise, was saved after she chose to see a psychoanalyst.
鈥淎nalysis taught me to think. Taught me to use my tendency to object to articulated ideas about my own ideas, taught me to use doubt, to examine my own own speech for its evasions and excisions,鈥� she recalled during a 1989 lecture at the Guggenheim Museum. 鈥淭he longer I withheld conclusion, the more I saw. I was learning, I believe, how to write, as well.鈥�
Gl眉ck was too frail to become a full-time college student and instead sat in on classes at Sarah Lawrence College and Columbia University, finding mentors in the poets-teachers Leonie Adams and Stanley Kunitz. By her mid-20s, she was publishing poems in The New Yorker, The Atlantic Monthly and other magazines.
Gl眉ck's debut book, 鈥淔irstborn,鈥� was published in 1968, and preceded a long stretch of writer鈥檚 block that ended while she was teaching at Goddard College in the early 1970s. She had once believed that poets should avoid academia, but found the engagement with Goddard students so enriching she began writing poetry again, work she regarded as well beyond the 鈥渞igid performances鈥� of 鈥淔irstborn.鈥� Out of her silence she discovered a new and more dynamic voice.
Her second book, 鈥淭he House on Marshland,鈥� came out in 1975 and is considered her critical breakthrough. But she continued to suffer years of what she called 鈥渂rutal punitive blankness," when she tried everything from gardening to listening to Sam Cooke records to break out. Subsequent books such as 鈥淭he Wild Iris鈥� and 鈥淎rarat鈥� became testaments to personal and creative reinvention, as if her older books had been written by someone else.
鈥淚鈥檝e always had this sort of magical-thinking way of detesting my previous books as a way of pushing myself forward,鈥� she told the Washington Square Review in 2015. 鈥淎nd I realized that I had this feeling of sneaking-up pride in accomplishment. Sometimes I would just stack my books together and think, 鈥榃ow, you haven鈥檛 wasted all your time.鈥� But then I was very afraid because it was a completely new sensation, that pride, and I thought, 鈥極h, this means really bad things.鈥欌��
Hillel Italie, The Associated Press
