Further Reading
- Baker, David. "Kinds of Knowing." The Kenyon Review 15, no. 1 (Winter 1993): 184-92. (Baker recognizes the difficulty of presenting intellectual strategies in lyric poetry, declaring that Glück's refusal of image as the essence of poetry is responsible for the success of The Wild Iris.)
- Bonds, Diane S. "Entering Language in Louise Glück's The House on Marshland: A Feminist Reading." Contemporary Literature XXXI, no. 1 (Spring 1990): 58-75. (Seeks a feminist resolution to the perceived problem of Glück's immersion in a literary tradition that is primarily male, concluding that Glück's work establishes a much-needed confrontation with androcentric myth.)
- Christophersen, Bill. “Classical Virtues—and Vices.” Poetry 177, no. 2 (December 2000): 217–24. (Christophersen offers a mixed assessment of Vita Nova.)
- Cramer, Steven. "Four True Voices of Feeling." Poetry CLVII, no. 2 (November 1990): 101-06. (Recognizes in Ararat the elevation of the personal to a tragic level, with Glück using short lyrics to refer to a more inclusive narrative within herself. However, Cramer sees Glück's real risk-taking in her use of metaphor rather than image, of explanation over suggestion.)
- Daniels, Kate. “Bombs in Their Bosoms.” Southern Review 35, no. 4 (Fall 1999): 846–56. (Daniels praises Vita Nova, discussing themes such as emotional healing, recovering from loss, and solitary life.)
- Frost, Elisabeth. “Disharmonies of Desire.” Women's Review of Books 14, no. 2 (November 1996): 24. (Frost argues that Glück's bleak vision of romantic love in Meadowlands, though presented with skill and humor, is ultimately limiting.)
- George, E. Laurie. "The 'harsher figure' of Descending Figure: Louise Glück's 'Dive into the Wreck'." Women's Studies XVII, no. 3 (1990): 235-47. (Begins with the alignment of Glück and Adrienne Rich, as George seeks to disclose a radical feminist base for Glück's poetry. George further contends that Glück's primary artistic struggle is against her own raging silence in response to a male-dominated society.)
- Glück, Louise. "Louise Glück." In Fifty Contemporary Poets: The Creative Process, edited by Alberta T. Turner, pp. 110-114. New York: David McKay Company, 1977. (Discusses the source, composition, and revision of her 1976 poem sequence "The Garden" in response to Turner's questionnaire. Glück notes the departure of these "companion poems" from her typical shorter lyric.)
- Glück, Louise. Proofs & Theories: Essays on Poetry. Hopewell, N.J.: Ecco Press, 1994. (Collects sixteen of Glück's essays, including critical studies of other poets and commentary on her own work and writing processes.)
- Hart, Henry. "Story-tellers, Myth-makers, Truth-sayers." New England Review XV, no. 4 (Fall 1993): 192-206. (Reviews Glück's The Wild Iris, which Hart compares to the poetry of Emily Dickinson and H.D., though he recognizes in Glück's poems her unwavering focus on her own personal archetypes.)
- Henry, Brian. “To Speak of Woe.” Kenyon Review 23, no. 1 (Winter 2001): 166–72. (Henry argues that the poems in Vita Nova avoid slipping into self-indulgence.)
- Kitchen, Judith. "The Woods Around It." The Georgia Review XLVII, no. 1 (Spring 1993): 145-59. (Applauds Glück's return in The Wild Iris to the site of her earlier poem sequence "The Garden." Kitchen asserts, however, that Glück is breaking new ground, cultivating a personal mythology out of which springs a deep spirituality.)
- Longenbach, James. “Poetry in Review.” Yale Review 84, no. 4 (October 1996): 158–62. (Longenbach describes the diverse but interconnected poems in Meadowlands, classifying them as both “dissatisfied and beautiful.”)
- McLane, Maureen. Review of Meadowlands, by Louise Glück. Chicago Review 43, no. 1 (Winter 1997): 120–22. (McLane comments that Glück succeeds in presenting a parallel between her mythic characters derived from The Odyssey and her contemporary characters.)
- Monte, Steven. Review of Vita Nova, by Louise Glück. Chicago Review 45, nos. 3–4 (1999): 180–83. (Monte argues that the poems in Vita Nova are flawed, but they appeal to readers because Glück strikes a balance between personalization and aloof observation.)
- Muske, Carol. "Wild Iris." The American Poetry Review XX, no. 1 (January/February 1993): 52-4. (Views Glück's theme in her sixth book as an argument between the wild and the domestic, observing that once again Glück is in such deep exploration of the conventional world that her work as a poet seems to be dissection.)
- Ullman, Leslie. Review of Meadowlands, by Louise Glück. Poetry 169, no. 5 (March 1997): 339–41. (Ullman suggests that Glück's poems in Meadowlands, ostensibly about evolving relationships, are also about the poet's growth and development.)
- Vendler, Helen. "Sociable Comets." The New York Review of Books XXVIII, no. 12 (16 July 1981): 24-6. (Compares John Ashbery's Shadow Train with Glück's Descending Figure, addressing the force of myth in both poets' work, as well as their very different manipulations of lyric. Vendler closes with a refutation of the notion that Glück's work is too pure to be emotionally engaging.)
- Wojahn, David. Review of The Seven Ages, by Louise Glück. Poetry 179, no. 3 (December 2001): 165–68. (Wojahn offers a positive assessment of The Seven Ages, comparing it to other works in Glück's career.)
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