Tags: Louise Glück

Heirs: The two of us - that's dangerous

Siren - Louise Glück

became a criminal when I fell in love.
Before that I was a waitress.

I didn't want to go to Chicago with you.
I wanted to marry you, I wanted
Your wife to suffer.

I wanted her life to be like a play
In which all the parts are sad parts.

Does a good person
Think this way? I deserve

Credit for my courage--

I sat in the dark on your front porch.
Everything was clear to me:
If your wife wouldn't let you go
That proved she didn't love you.
If she loved you
Wouldn't she want you to be happy?

I think now
If I felt less I would be
A better person. I was
A good waitress.
I could carry eight drinks.

I used to tell you my dreams.
Last night I saw a woman sitting in a dark bus--
In the dream, she's weeping, the bus she's on
Is moving away. With one hand
She's waving; the other strokes
An egg carton full of babies.

The dream doesn't rescue the maiden.
Blair: Snow-White

A Myth of Devotion - Louise Gluck

When Hades decided he loved this girl
he built for her a duplicate of earth,
everything the same, down to the meadow,
but with a bed added.

Everything the same, including sunlight,
because it would be hard on a young girl
to go so quickly from bright light to utter darkness

Gradually, he thought, he'd introduce the night,
first as the shadows of fluttering leaves.
Then moon, then stars. Then no moon, no stars.
Let Persephone get used to it slowly.
In the end, he thought, she'd find it comforting.

A replica of earth
except there was love here.
Doesn't everyone want love?

He waited many years,
building a world, watching
Persephone in the meadow.
Persephone, a smeller, a taster.
If you have one appetite, he thought,
you have them all.

Doesn't everyone want to feel in the night
the beloved body, compass, polestar,
to hear the quiet breathing that says
I am alive, that means also
you are alive, because you hear me,
you are here with me. And when one turns,
the other turns-

That's what he felt, the lord of darkness,
looking at the world he had
constructed for Persephone. It never crossed his mind
that there'd be no more smelling here,
certainly no more eating.

Guilt? Terror? The fear of love?
These things he couldn't imagine;
no lover ever imagines them.

He dreams, he wonders what to call this place.
First he thinks: The New Hell. Then: </i>The Garden</i>.
In the end, he decides to name it
Persephone's Girlhood.

A soft light rising above the level meadow,
behind the bed. He takes her in his arms.
He wants to say I love you, nothing can hurt you

but he thinks
this is a lie, so he says in the end
you're dead, nothing can hurt you
which seems to him
a more promising beginning, more true.
-- In my vampire heart

Persephone the Wanderer - Louise Glück

In the first version, Persephone
is taken from her mother
and the goddess of the earth
punishes the earth-this is
consistent with what we known of human behavior,

that human beings take profound satisfaction
in doing harm, particularly
unconscious harm:

we may call this
negative creation.

Persephone’s initial
sojourn in hell continues to be
pawed over by scholars who dispute
the sensations of the virgin:

did she cooperate in her rape,
or was she drugged, violated against her will,
as happens so often now to modern girls.

As is well known, the return of the beloved
does not correct
the loss of the beloved: Persephone

returns home
stained with red juice like
a character in Hawthorne-

I am not certain I will
keep this word: is earth
'home' to Persephone? Is she at home, conceivable,
in the bed of the god? Is she
at home nowhere? Is she
a born wanderer, in other words
an existential
replica of her own mother, less
hamstrung by ideas of causality?

You are allowed to like
no one, you know. The characters
are not people.
They are aspects of a dilemma or conflict.

Three parts: just as the soul is divided,
ego, superego, id. Likewise

the three levels of the known world,
a kind of diagram that separates
heaven from earth from hell.

You must ask yourself:
where is it snowing?

White of forgetfulness,
of desecration

It is snowing on earth; the cold wind says

Persephone is having sex in hell.
Unlike the rest of us, she doesn’t know
what winter is, only that
she is what causes it.

She is lying in the bed of Hades.
What is in her mind?
Is she afraid? Has something
blotted out the idea
of mind?

She does know the earth
is run by mothers, this much
is certain. She also knows
she is not what is called
a girl any longer. Regarding
incarceration, she believes

she has been a prisoner since she has been a daughter.

The terrible reunions in store for her
will take up the rest of her life.
When the passion for expiation
is chronic, fierce, you do not choose
the way you live. You do not live;
you are not allowed to die.

You drift between earth and death
which seem, finally,
strangely alike. Scholars tell us

that there is no point in knowing what you want
when the forces contending over you
could kill you.

White of forgetfulness,
white of safety

They say
there is a rift in the human soul
which was not constructed to belong
entirely to life. Earth

Asks us to deny this rift, a threat
disguised as suggestion
As we have seen
in the tale of Persephone
which should be read

As an argument between the mother and the lover
the daughter is just meat.

When death confronts her, she has never seen
the meadow without the daisies.
Suddenly she is no longer
singing her maidenly songs.
about her mother’s
beauty and fecundity. Where
the rift is, the break is.

Song of the earth,
song of the mystic vision of eternal life

My soul
shattered with the strain
of trying to belong to earth

What will you do,
when it is your turn in the field with the god?
Manu: Savannah, -- The wildest of lands

The Untrustworthy Speaker

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.
BH: A cracked song in the universe

Circe's Torment - Louise Gluck

I regret bitterly
The years of loving you in both
( Your presence and absence ):
Your presence and absence, regret
The law, the vocation
That forbid me to keep you, the sea
A sheet of glass, the sun-bleached
Beauty of the Greek ships: how
Could I have power if
I had no wish
To transform you: as
You loved my body,
As you found there
Passion we held above
All other gifts, in that single moment
Over honor and hope, over
Loyalty, in the name of that bond
I refuse you
Such feeling for your wife
As will let you
Rest with her, I refuse you
Sleep again
If I cannot have you.
-- This grace you are drowning in

Gretal In Darkness - Louise Glück

This is the world we wanted.
All who would have seen us dead
are dead. I hear the witch’s cry
break in the moonlight through a sheet
of sugar: God rewards.
Her tongue shrivels into gas. . . .

Now, far from women’s arms
and memory of women, in our father’s hut
we sleep, are never hungry.
Why do I not forget?
My father bars the door, bars harm
from this house, and it is years.

No one remembers. Even you, my brother,
summer afternoons you look at me as though
you meant to leave,
as though it never happened.
But I killed for you. I see armed firs,
the spires of that gleaming kiln—

Nights I turn to you to hold me
but you are not there.
Am I alone? Spies
hiss in the stillness, Hansel,
we are there still and it is real, real,
that black forest and the fire in earnest.
FS: Doubt thou the stars are fire

The Triumph of Achilles - Louise Glück

In the story of Patroclus,
no one survives, not even Achilles
who was nearly a god.
Patroclus resembled him;
they wore the same armor.

Always in these friendships
one serves the other, one is less than the other:
the hierarchy
is always apparent, though the legends
cannot be trusted –
their source is the survivor,
the one who was abandoned.

What were the Greek ships on fire
compared to his loss?

In his tent, Achilles
grieved with his whole being
and the gods saw
he was a man already dead, a victim
of the part that loved,
the part that was mortal.