Showing posts with label Louise Gluck. Show all posts
Showing posts with label Louise Gluck. Show all posts

8/26/21

MIDNIGHT - Louise Glück

Speak to me, aching heart: what

ridiculous errand are you inventing for yourself

weeping in the dark garage

with your sack of garbage: it is not your job

to take out the garbage, it is your job

to empty the dishwasher. You are showing off again,

exactly as you did in childhood—where

is your sporting side, your famous

ironic detachment? A little moonlight hits

the broken window, a little summer moonlight, tender

murmurs from the earth with its ready sweetnesses—

is this the way you communicate

with your husband, not answering

when he calls, or is this the way the heart

behaves when it grieves: it wants to be

alone with the garbage? If I were you,

I’d think ahead. After fifteen years,

his voice could be getting tired; some night

if you don’t answer, someone else will answer.

7/21/19

The Wish - Louise Glück

Remember that time you made the wish?

           I make a lot of wishes.

The time I lied to you
about the butterfly. I always wondered
what you wished for.

           What do you think I wished?

I don’t know. That I’d come back,
that we’d somehow be together in the end.

           I wished for what I always wish for.
           I wished for another poem.

10/12/16

MOONLESS NIGHT - Louise Glück

A lady weeps at a dark window.
Must we say what it is? Can’t we simply say
a personal matter? It’s early summer;
next door the Lights are practicing klezmer music.
A good night: the clarinet is in tune.

As for the lady--she’s going to wait forever;
there’s no point in watching longer.
After awhile, the streetlight goes out.

But is waiting forever
always the answer? Nothing
is always the answer; the answer
depends on the story.

Such a mistake to want
clarity above all things. What’s
a single night, especially
one like this, now so close to ending?
On the other side, there could be anything,
all the joy in the world, the stars fading,
the streetlight becoming a bus stop.

9/4/16

New World - Louise Glück

As I saw it,
all my mother's life, my father
held her down, like
lead strapped to her ankles.

She was
buoyant by nature;
she wanted to travel,
go to theater, go to museums.
What he wanted
was to lie on the couch
with the Times
over his face,
so that death, when it came,
wouldn't seem a significant change.

In couples like this,
where the agreement
is to do things together,
it's always the active one
who concedes, who gives.
You can't go to museums
with someone who won't
open his eyes.

I thought my father's death
would free my mother.
In a sense, it has:
she takes trips, looks at
great art. But she's floating.
Like some child's balloon
that gets lost the minute
it isn't held.
Or like an astronaut
who somehow loses the ship
and has to drift in space
knowing, however long it lasts,
this is what's left of being alive: she's free
in that sense.
Without relation to earth.

6/14/16

Cousins - Louise Glück

My son’s very graceful; he has perfect balance.
He’s not competitive, like my sister’s daughter.

Day and night, she’s always practicing.
Today, it’s hitting softballs into the copper beech,
retrieving them, hitting them again.
After a while, no one even watches her.
If she were any stronger, the tree would be bald.

My son won’t play with her; he won’t even ride bicycles with her.
She accepts that; she’s used to playing by herself.
The way she sees it, it isn’t personal:
whoever won’t play doesn’t like losing.

It’s not that my son’s inept, that he doesn’t do things well.
I’ve watched him race: he’s natural, effortless—
right from the first, he takes the lead.
And then he stops. It’s as though he was born rejecting
the solitude of the victor.

My sister’s daughter doesn’t have that problem.
She may as well be first; she’s already alone.

2/15/16

Celestial Music - Louise Glück

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 weakness, 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 both 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 that we both love.
The love of form is a love of endings.

2/8/16

Mutable Earth - Louise Glück

Are you healed or do you only think you're healed?

I told myself
from nothing
nothing could be taken away.

But can you love anyone yet?

When I feel safe, I can love.

But will you touch anyone?

I told myself
if I had nothing
the world couldn't touch me.

In the bathtub, I examine my body.
We're supposed to do that.

And your face too?
Your face in the mirror?

I was vigilant: when I touched myself
I didn't feel anything.

Were you safe then?

I was never safe, even when I was most hidden.
Even then I was waiting.

So you couldn't protect yourself?

The absolute
erodes; the boundary, the wall
around the self erodes.
If I was waiting I had been
invaded by time.

But do you think you're free?

I think I recognize the patterns of my nature.

But do you think you're free?

I had nothing
and I was still changed.
Like a costume, my numbness
was taken away. Then
hunger was added.

Mirror Image - Louise Glück

Tonight I saw myself in the dark window as
the image of my father, whose life
was spent like this,
thinking of death, to the exclusion
of other sensual matters,
so in the end that life
was easy to give up, since
it contained nothing: even
my mother's voice couldn't make him
change or turn back
as he believed
that once you can't love another human being
you have no place in the world.

1/15/16

Animals - Louise Glück

My sister and I reached
the same conclusion:
the best way
to love us was to not
spend time with us.
It seemed that
we appealed
chiefly to strangers.
We had good clothes, good
manners in public.

In private, we were
always fighting. Usually
the big one finished
sitting on her little one
and pinching her.
The little one
bit: in forty years
she never learned
the advantage in not
leaving a mark.

The parents
had a credo: they didn't
believe in anger.
The truth was, for different reasons,
they couldn't bring themselves
to inflict pain. You should only hurt
something you can give
your whole heart to. They preferred
tribunals: the child
most in the wrong could choose
her own punishment.

My sister and I
never became allies,
never turned on our parents.
We had
other obsessions: for example,
we both felt there were
too many of us
to survive.

We were like animals
trying to share a dry pasture.
Between us, one tree, barely
strong enough to sustain
a single life.

We never moved
our eyes from each other
nor did either touch
one thing that could
feed her sister.

12/31/15

PARABLE OF FAITH - Louise Glück

Now, in twilight, on the palace steps
the king asks forgiveness of his lady.

He is not
duplicitous; he has tried to be
true to the moment; is there another way of being
true to the self?

The lady
hides her face, somewhat
assisted by the shadows. She weeps
for her past; when one has a secret life,
one's tears are never explained.

Yet gladly would the king bear
the grief of his lady: his
is the generous heart,
in pain as in joy.

Do you know
what forgiveness means? It means
the world has sinned, the world
must be pardoned—

12/30/15

Telemachus' Kindness - Louise Glück

When I was younger I felt
sorry for myself
compulsively; in practical terms,
I had no father; my mother
lived at her loom hypothesizing
her husband's erotic life; gradually
I realized no child on that island had
a different story; my trials
were the general rule, common
to all of us, a bond
among us, therefore
with humanity: what
a life my mother had, without
compassion for my father's
suffering, for a soul
ardent by nature, thus
ravaged by choice, nor had my father
any sense of her courage, subtly
expressed as inaction, being
himself prone to dramatizing,
to acting out: I found
I could share these perceptions
with my closest friends, as they shared
theirs with me, to test them,
to refine them: as a grown man
I can look at my parents
impartially and pity them both: I hope
always to be able to pity them.

Telemachus' Guilt - Louise Glück

Patience of the sort my mother
practiced on my father
(which in his self-
absorption he mistook
for tribute though it was in fact
a species of rage--didn't he
ever wonder why he was
so blocked in expressing
his native abandon?): it infected
my childhood. Patiently
she fed me; patiently
she supervised the kindly
slaves who attended me, regardless
of my behavior, an assumption
I tested with increasing
violence. It seemed clear to me
that from her perspective
I didn't exist, since
my actions had
no power to disturb her: I was
the envy of my playmates.
In the decades that followed
I was proud of my father
for staying away
even if he stayed away for
the wrong reasons;
I used to smile
when my mother wept.
I hope now she could
forgive that cruelty; I hope
she understood how like
her own coldness it was,
a means of remaining
separate from what
one loves deeply.

Telemachus' Detachment - Louise Glück

When I was a child looking
at my parents' lives, you know
what I thought? I thought
heartbreaking. Now I think
heartbreaking, but also
insane. Also
very funny.

12/11/15

Lamium - Louise Glück

This is how you live when you have a cold heart.
As I do: in shadows, trailing over cool rock,
under the great maple trees.

The sun hardly touches me.
Sometimes I see it in early spring, rising very far away.
Then leaves grow over it, completely hiding it. I feel it
glinting through the leaves, erratic,
like someone hitting the side of a glass with a metal spoon.

Living things don't all require
light in the same degree. Some of us
make our own light: a silver leaf
like a path no one can use, a shallow
lake of silver in the darkness under the great maples.

But you know this already.
You and the others who think
you live for truth and, by extension, love
all that is cold.

Rainy Morning - Louise Glück

You don't love the world.
If you loved the world you'd have
images in your poems.

John loves the world. He has
a motto: judge not
lest ye be judged. Don't

argue this point
on the theory it isn't possible
to love what one refuses
to know: to refuse

speech is not
to suppress perception.

Look at John, out in the world,
running even on a miserable day
like today. Your
staying dry is like the cat's pathetic
preference for hunting dead birds: completely

consistent with your tame spiritual themes,
autumn, loss, darkness, etc.

We can all write about suffering
with our eyes closed. You should show people
more of yourself; show them your clandestine
passion for red meat.

Witchgrass - Louise Glück

Something
comes into the world unwelcome
calling disorder, disorder—

If you hate me so much
don’t bother to give me
a name: do you need
one more slur
in your language, another
way to blame
one tribe for everything—

as we both know,
if you worship
one god, you only need
one enemy—

I’m not the enemy.
Only a ruse to ignore
what you see happening
right here in this bed,
a little paradigm
of failure. One of your precious flowers

dies here almost every day
and you can’t rest until
you attack the cause, meaning
whatever is left, whatever
happens to be sturdier
than your personal passion—

It was not meant
to last forever in the real world.
But why admit that, when you can go on
doing what you always do,
mourning and laying blame,
always the two together.

I don’t need your praise
to survive. I was here first,
before you were here, before
you ever planted a garden.
And I’ll be here when only the sun and moon
are left, and the sea, and the wide field.

I will constitute the field.

The Untrustworthy Speaker - Louise Glück

Don't listen to me; my heart's been broken.
I don't see anything objectively.

I know myself; I've learned to hear like a psychiatrist.
When I speak passionately,
that's when I'm least to be trusted.

It's very sad, really: all my life I've been praised
for my intelligence, my powers of language, of insight.
In the end, they're wasted--

I never see myself,
standing on the front steps, holding my sister's hand.
That's why I can't account
for the bruises on her arm, where the sleeve ends.

In my own mind, I'm invisible: that's why I'm dangerous.
People like me, who seem selfless,
we're the cripples, the liars;
we're the ones who should be factored out
in the interest of truth.

When I'm quiet, that's when the truth emerges.
A clear sky, the clouds like white fibers.
Underneath, a little gray house, the azaleas
red and bright pink.

If you want the truth, you have to close yourself
to the older daughter, block her out:
when a living thing is hurt like that,
in its deepest workings,
all function is altered.

That's why I'm not to be trusted.
Because a wound to the heart
is also a wound to the mind.

Trillium - Louise Gluck

When I woke up I was in a forest. The dark
seemed natural, the sky through the pine trees
thick with many lights.

I knew nothing; I could do nothing but see.
And as I watched, all the lights of heaven
faded to make a single thing, a fire
burning through the cool firs.
Then it wasn't possible any longer
to stare at heaven and not be destroyed.

Are there souls that need
death's presence, as I require protection?
I think if I speak long enough
I will answer that question, I will see
whatever they see, a ladder
reaching through the firs, whatever
calls them to exchange their lives--

Think what I understand already.
I woke up ignorant in a forest;
only a moment ago, I didn't know my voice
if one were given to me
would be so full of grief, my sentences
like cries strung together.
I didn't even know I felt grief
until that word came, until I felt
rain streaming from me.

12/10/15

Telemachus' Guilt - Louise Glück

Patience of the sort my mother
practiced on my father
(which in his self-
absorption he mistook
for tribute though it was in fact
a species of rage--didn't he
ever wonder why he was
so blocked in expressing
his native abandon?): it infected
my childhood. Patiently
she fed me; patiently
she supervised the kindly
slaves who attended me, regardless
of my behavior, an assumption
I tested with increasing
violence. It seemed clear to me
that from her perspective
I didn't exist, since
my actions had
no power to disturb her: I was
the envy of my playmates.
In the decades that followed
I was proud of my father
for staying away
even if he stayed away for
the wrong reasons;
I used to smile
when my mother wept.
I hope now she could
forgive that cruelty; I hope
she understood how like
her own coldness it was,
a means of remaining
separate from what
one loves deeply.

5/12/15

Void - Louise Glück

I figured out why you won’t buy furniture.
You won’t buy furniture because you’re depressed.

I’ll tell you what’s wrong with you: you’re not
gregarious. You should
look at yourself; the only time you’re totally happy
is when you cut up a chicken.

Why can’t we talk about what I want to talk about?
Why do you always change the subject?

You hurt my feelings. I do not mistake
reiteration for analysis.

You should take one of those chemicals,
maybe you’d write more.
Maybe you have some kind of void syndrome.

You know why you cook? Because
you like control. A person who cooks is a person who likes
to create debt.

Actual people! Actual human beings
sitting on our chairs in our living room!
I’ll tell you what: I’ll learn
bridge.

Don’t think of them as guests, think of them
as extra chickens. You’d like it.
If we had more furniture
you’d have more control.