This year's Nobel Prize in Literature has been awarded to Louis Glick, a poet from the United States, whose unequivocal poetic beauty has made the existence of a person universal.
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The Royal Swedish Academy on Thursday announced Louis Glick as the 117th author to win the Nobel Prize in Literature.
Anders Olson, chairman of the academy's Nobel Committee, said Glick's poetic language was frank, uncompromising, and there were jokes and sarcasm.
Lewis Glick, 6, is the 16th woman in the history of the Nobel Prize to receive this award for literature. She was the first American woman to receive the Nobel Prize in Literature since Tony Morrison in 1993.
Born in New York in 1943, the poet lives in Cambridge, Massachusetts. For a living he taught at Yale University.
Lewis Glick's first book of poetry, Firstborn, was published in 1966. He did not take long to become one of the leading poets of American contemporary literature.
He won the Pulitzer Prize in 1993; The poet received the National Book Award in 2014.
So far, 12 books of poetry and several collections of essays have been published on his poetry. The poetic language of those books seems to be desperate to enlighten itself all the time.
At the heart of Lewis Glick's poetry world is the story of his childhood and his bonds with family, parents and siblings.
Describing Glick's poetic style, the Swedish Academy said in a statement that in his poems, the self seems to be always immersed in the calculation of dreams and illusions. And Glick's fight to wake up from that illusion, I understand that someone will lose.
That is to say, Glick's poetry cannot be trapped in an autobiographical mold, those lines are in fact an exploration of universality. And in that exploration phase, he sent from myth, from traditional motifs. Most of his poems are scattered all over the place
The Voice of Dido, Persephone, Eurydice, or The Abandoned, The Punished, The Betrayed are all masks of the poet's self-form, the ever-changing form, the individual being universal.
After the publication of The Triumph of Achilles in 1975 and Ararat in 1990, Glick's readership continued to grow at home and abroad. In Ararat, three features became evident in his poetic language style - family life, unadorned intellectual viva and fine craftsmanship in the weaving of poetry.
Glick himself admits that through those poems he discovered how to make ordinary language poetic.
The Swedish academy says that the simple melodies in Glick's poems startle the reader. Such a vivid portrayal of the hidden pain in the interrelationships of the people known in the family pushes in a systematic way. There is no poetic rhetoric, that poetry is frank, where there is no compromise.
When Glick talks about Elliott's critical tone in his essay, he speaks of the art of 'self-reading' in Keats's writing, as if there is a different lesson to be found in his own poetry. But the struggle between faith and disbelief and the helplessness that the poet has, there are many similarities with Emily Dickinson.Describing Glick's poetic style, the Swedish Academy said in a statement that in his poems, the self seems to be always immersed in the calculation of dreams and illusions. And Glick's fight to wake up from that illusion, I understand that someone will lose.
That is to say, Glick's poetry cannot be trapped in an autobiographical mold, those lines are in fact an exploration of universality. And in that exploration phase, he sent from myth, from traditional motifs. Most of his poems are scattered all over the place
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The Voice of Dido, Persephone, Eurydice, or The Abandoned, The Punished, The Betrayed are all masks of the poet's self-form, the ever-changing form, the individual being universal.
After the publication of The Triumph of Achilles in 1975 and Ararat in 1990, Glick's readership continued to grow at home and abroad. In Ararat, three features became evident in his poetic language style - family life, unadorned intellectual viva and fine craftsmanship in the weaving of poetry.
Glick himself admits that through those poems he discovered how to make ordinary language poetic.
The Swedish academy says that the simple melodies in Glick's poems startle the reader. Such a vivid portrayal of the hidden pain in the interrelationships of the people known in the family pushes in a systematic way. There is no poetic rhetoric, that poetry is frank, where there is no compromise.
When Glick talks about Elliott's critical tone in his essay, he speaks of the art of 'self-reading' in Keats's writing, as if there is a different lesson to be found in his own poetry. But the struggle between faith and disbelief and the helplessness that the poet has, there are many similarities with Emily Dickinson.