자아의 부재에서 목소리를 내다─루이스 그릭
To Speak with No Self: The Poetry of Louise Glück
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This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from “the enduring general deriving continually from the accepted individual life.” It conveys the sense of speech issuing “not from the past but in the present” and “the sense of immediacy [and] volatility.” Her lyric voice is so deliberately manipulated as to make Glück distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the “I” is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Glück’s unique abilities with the lyric voice contribute to her recognition as a leading American poet.
Abstract
This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from “the enduring general deriving continually from the accepted individual life.” It conveys the sense of speech issuing “not from the past but in the present” and “the sense of immediacy [and] volatility.” Her lyric voice is so deliberately manipulated as to make Glück distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the “I” is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Glück’s unique abilities with the lyric voice contribute to her recognition as a leading American poet.
참고문헌 (10)
- "“Louise Glück.” Contemporary Literary Criticism Select. Detroit: Gale, Literature Resource Center. Gale. KING COUNTY LIBRARY SYSTEM"[URL]
- Diehl, Joanne Feit, "On Louise Glück: Change What You See" (2005), U of Michigan P
- Glück, Louise, "Ararat" (1990), The Ecco P
- Glück, Louise, "Proofs & Theories: Essays on Poetry" (1994), The Ecco P
- Glück, Louise, "The First Four Books of Poems" (1995), The Ecco P
- Glück, Louise, "The Wild Iris" (1992), The Ecco P
- Turner, Alberta T., "Fifty Contemporary Poets: The Creative Process" (1977), David McKay Company
- Vendler, Helen, "Flower Power", The New Republic, 208(21), pp.35~38 (1993)
- Vendler, Helen, "Part of Nature, Part of Us: Modern American Poets" (1980), Harvard UP
- Vendler, Helen, "The Poetry of Louise Glück", The New Republic, 178(24), pp.34~37 (1978)