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This collection of stunningly beautiful poems encompasses the natural, human, and spiritual realms, and is bound together by the universal themes of time and mortality. With clarity and sureness of craft, Gluck's poetry questions, explores, and finally celebrates the ordeal of being alive.

Averno is a small crater lake in southern Italy, regarded by the ancient Romans as the entrance to the underworld. That place gives its name to Louise Gluck's tenth collection: in a landscape turned irretrievably to winter, it is a gate or passageway that invites traffic between worlds while at the same time resisting their reconciliation. Averno is an extended lamentation, its long, restless poems no less spellbinding for being without conventional resoltution or consolation, no less ravishing for being savage, grief-stricken. What Averno provides is not a map to a point of...

Winner of the 1993 PEN/Martha Albrand Award for First Non-Fiction, Proofs and Theories is an illuminating collection of essays by Louise Gluck, whose most recent book of poems, The Wild Iris, was awarded the Pulitzer Prize. Gluck brings to her prose the same precision of language, the same incisiveness and insight that distinguish her poetry. The force of her thought is evident everywhere in these essays, from her explorations of other poets' work to her skeptical contemplation of current literary critical notions such as "sincerety" and "courage." Here also are Gluck's...

A Village Life, Louise Gluck's eleventh collection of poems, begins in the topography of a village, a Mediterranean world of no definite moment or place:

All the roads in the village unite at the fountain.

Avenue of Liberty, Avenue of the Acacia Trees--

The fountain rises at the center of the plaza;

on sunny days, rainbows in the piss of the cherub.

--from "tributaries"

Around the fountain are concentric circles of figures, organized by age and in degrees of distance: fields, a river, and, like the fountain's...

The collected works of the inimitable Pulitzer Prize-winning poet

It is the astonishment of Louise Gluck'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 landscape--Persephone, a copper beech, a mother and father and...