Disparue le 13 octobre 2023, encore trop peu connue en France malgré un prix Nobel de littérature en 2020, Louise Glück poursuivait son chemin solitaire en poésie, n'appartenant à aucune école et aucune mode.
Tout en retenue, son style est néanmoins de plus en plus narratif. En témoignent ces quinze recettes qui, tantôt sur le mode de la fable, tantôt sur le mode de la bribe autobiographique, racontent la fin d'une vie et les souvenirs qui remontent d'un passeport oublié à un bonsaï qu'on taille.
L'avis des critiques :
Pour Anne Dujin, rédactrice en chef de la revue Esprit, la voix de Louise Glück ne se laisse pas cataloguer, à la fois très retenue et très lyrique, intimiste et réflexive. Par ailleurs, Anne Dujin évoque la présence d'un “je” poétique dispersé, avec des passages entiers qui semblent biographiques, mais dans lesquels le doute s'instille.
le documentariste et auteur Romain de Becdelièvre a beaucoup apprécié l'aspect collectif de cette poésie qui se fait et s'écoute à plusieurs, là où selon lui la poésie est souvent de l'ordre de la solitude et du solipsisme. En outre, il s'est dit touché par “l'hommage rendu à des ancêtres fantasmatiques et imaginaires” dans ce recueil.
#poesie #louisegluck #littérature
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Que lire après The Triumph of AchillesVoir plus
Citations et extraits (5)
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MORNING
The virtuous girl wakes in the arms of her husband,
the same arms in which, all summer, she moved
restlessly, under the pear trees:
it is pleasant to wake like this,
with the sun rising, to see the wedding dress
draped over the back of a chair,
and on the heavy bureau, a man’s shirt, neatly folded;
to be restored by these
to a thousand images, to the church itself, the autumn sunlight
streaming through the colored windows, through
the figure of the Blessed Virgin, and underneath,
Amelia holding the fiery bridal flowers—
As for her mother’s tears: ridiculous, and yet
mothers weep at their daughters’ weddings,
everyone knows that, though
for whose youth one cannot say.
At the great feast there is always the outsider, the stranger to joy,
and the point is how different they are, she and her mother.
Never has she been further from sadness
than she is now. She feels no call to weep,
but neither does she know
the meaning of that word, youth.
The virtuous girl wakes in the arms of her husband,
the same arms in which, all summer, she moved
restlessly, under the pear trees:
it is pleasant to wake like this,
with the sun rising, to see the wedding dress
draped over the back of a chair,
and on the heavy bureau, a man’s shirt, neatly folded;
to be restored by these
to a thousand images, to the church itself, the autumn sunlight
streaming through the colored windows, through
the figure of the Blessed Virgin, and underneath,
Amelia holding the fiery bridal flowers—
As for her mother’s tears: ridiculous, and yet
mothers weep at their daughters’ weddings,
everyone knows that, though
for whose youth one cannot say.
At the great feast there is always the outsider, the stranger to joy,
and the point is how different they are, she and her mother.
Never has she been further from sadness
than she is now. She feels no call to weep,
but neither does she know
the meaning of that word, youth.
ADULT GRIEF
Because you were foolish enough to love one place,
now you are homeless, an orphan
in a succession of shelters.
You did not prepare yourself sufficiently.
Before your eyes, two people were becoming old;
I could have told you two deaths were coming.
There has never been a parent
kept alive by a child’s love.
Now, of course, it’s too late –
you were trapped in the romance of fidelity.
You kept going back, clinging
to two people you hardly recognized
after what they’d endured.
If once you could have saved yourself,
now that time’s past: you were obstinate, pathetically
blind to change. Now you have nothing:
for you, home is a cemetery.
I’ve seen you press your face against the granite markers –
you are the lichen, trying to grow there.
But you will not grow,
you will not let yourself
obliterate anything.
Because you were foolish enough to love one place,
now you are homeless, an orphan
in a succession of shelters.
You did not prepare yourself sufficiently.
Before your eyes, two people were becoming old;
I could have told you two deaths were coming.
There has never been a parent
kept alive by a child’s love.
Now, of course, it’s too late –
you were trapped in the romance of fidelity.
You kept going back, clinging
to two people you hardly recognized
after what they’d endured.
If once you could have saved yourself,
now that time’s past: you were obstinate, pathetically
blind to change. Now you have nothing:
for you, home is a cemetery.
I’ve seen you press your face against the granite markers –
you are the lichen, trying to grow there.
But you will not grow,
you will not let yourself
obliterate anything.
BASKETS
[...]
4.
I take my basket to the brazen market,
to the gathering place.
I ask you, how much beauty
can a person bear? It is
heavier than ugliness, even the burden
of emptiness is nothing beside it.
Crates of eggs, papaya, sacks of yellow lemons—
I am not a strong woman. It isn’t easy
to want so much, to walk
with such a heavy basket, either
bent reed, or willow.
[...]
4.
I take my basket to the brazen market,
to the gathering place.
I ask you, how much beauty
can a person bear? It is
heavier than ugliness, even the burden
of emptiness is nothing beside it.
Crates of eggs, papaya, sacks of yellow lemons—
I am not a strong woman. It isn’t easy
to want so much, to walk
with such a heavy basket, either
bent reed, or willow.
MARATHON
[...]
I have to tell you what I’ve learned, that I know now
what happens to the dreamers.
They don’t feel it when they change. One day
they wake, they dress, they are old.
[...]
[...]
I have to tell you what I’ve learned, that I know now
what happens to the dreamers.
They don’t feel it when they change. One day
they wake, they dress, they are old.
[...]
Beauty dies: that is the source
of creation.
of creation.
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