I am nothing
because I want nothing.

There is nothing I want.

When I was in love, my love
became my sadness. When I was oblique, rock cast
against rock, my two eyes hung like pistols

aflame in a boundless void. I remember a shepherd
summoning me to the cliff, a train
that left me stranded at the platform. For years, I watched,
from an empty field, an empty river rising

as an angel choked at the bank. I am the chorus
and the choir, she screamed,
the psalmist and the psalm. Though I waited

for you, bright “I,”
though I wait,

when I jumped the turnstile
                                                                       Awaken!


at the gate, I could not hear you calling, I did not
know my fate. Had I known, then, that you were the rising water
and the fleeing hares, had I known

that answering your prayers
was the answer to my prayers

and that doubting it
could/would

kill me, I could have been able to stop
the flood/would I have been able to stop?—

smoke a fag, scratch the scab. I could not hear you calling,
but I know it’s you who calls. I’ll find you

                                                                        Awaken!

at the end of the line, where the glass orb spins forever
and the meadows twist like dogs. To write, I must open my eyes—

                                         To open your eyes, you must write!

from the journal WEST BRANCH
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Headshot of young Louise Glück
Five Poets Reflect On Their Relationship With Louise Glück

"Someone once told me that Louise Glück said writing through grief did not bring catharsis but, rather, clarity. Louise was my teacher. After she died, I went looking for a certain line of hers to encapsulate her poems. How to describe her astounding style? Lucid and mysterious? Wry and plaintive? Colloquial and oracular? I wanted her to tell me. "

via LOS ANGELES REVIEW OF BOOKS
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Cover of book Public Abstract
What Sparks Poetry:
Jane Huffman on Language as Form


"In 'The Rest,' I use the repeating language pattern to demonstrate a breakdown from idea into sound, from the recognizable image—a vase of flowers—into something stranger, something that attends to the 'prehistorical, preconceptual and prelinguistic' utterance 'prior to its translation into language-mediated conceptual sense.'"
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