By Louise Glück
A Village lifestyles, Louise Glück's 11th choice of poems, starts within the topography of a village, a Mediterranean international of no yes second or place:
All the roads within the village unite on the fountain.
Avenue of Liberty, street of the Acacia Trees—
The fountain rises on the heart of the plaza;
on sunny days, rainbows within the piss of the cherub.
Around the fountain are concentric circles of figures, geared up via age and in levels of distance: fields, a river, and, just like the fountain's contrary, a mountain. Human time superimposed on geologic time, all taken in at a look, with none undue sensation of pace.
Glück has been often called a lyrical and dramatic poet; considering the fact that Ararat, she has formed her austere intensities into book-length sequences. the following, for the 1st time, she speaks as "the form of describing, supervising intelligence present in novels instead of poetry," as Langdon Hammer has written of her lengthy lines—expansive, fluent, and full—manifesting a peaceful omniscience. whereas Glück's demeanour is novelistic, she focuses now not on motion yet on pauses and durations, moments of suspension (rather than suspense), in a dreamlike current demanding during which poetic hypothesis and mirrored image are attainable.
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Extra resources for A Village Life
How many surfaces are there between a thing and the world? How strictly does heat determine a region? If one is standing on a road, beside a block of ice, if one begins to understand that situation, such that one begins to count surfaces, the ice is bound to melt in tempo, as if a road is not the best place to count surfaces. As though, on a road, there’s a toll one must be prepared to pay 25 when considering the number of places in which a thing and the world meet, meet but remain aloof behind that junction, maintaining their proper places in respect to each other’s place, and in respect to that.
The sky overhead was a thief’s journal, the clouds were words about to be replaced, he walked quietly with a painter at evening to visit a dying writer neither knew, lashed together the two walked towards sleep and the sky bent to be part of the scene, neither air or sound but the place of both, fatally weightless, suggestions of the old man’s labored breaths. Thus its motions were robes of a talking ghost in the discourse of nightfall, whatever is said it may have been involved, the nation blowing in wind vexed by a ﬂag, 50 it may have been involved, a talking ghost steeped in a hospital of blue light where the wind has the sound of a knife through bread, the room rhymes childhood with lover’s chamber, the light hinges on an old man in his bed, the blue octavo notebooks he calls the sea.
This is an example of the coarsening of surface through multiplication, and in Florida there is as yet no solution for its cascading e¤ect on interiors. And one is not always even in Florida. But on its bright roads one is not in a good position to know an interior. Suggesting that depth is a succession of ﬂat surfaces like color, like stacked palm leaves copying a sundown in green and brown. Is the color of a surface a function of in which direction one considers 27 interior? How may two interiors lie together without forming a surface?
A Village Life by Louise Glück