(en) Nick Laird(en), « The Triumph of the Survivor », The New York Review of Books, (lire en ligne) : « What Glück learned from Williams, and from George Oppen, is Pound’s sense that “the natural object is always the adequate symbol.” She marries Williams’s Objectivism, that “moral commitment to the actual, which meant the visible,” with an Eliotic sense of the hidden. »
(en) Mike Ladd(en), « The Hazards review : Sarah Holland-Batt's striking second collection of poetry », The Sydney Morning Herald, (lire en ligne) : « Part four begins with a mysterious poem called Insurgency, which has about it the dreamy objectivism of Louise Glück. »
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(en) Nick Laird(en), « The Triumph of the Survivor », The New York Review of Books, (lire en ligne) : « What Glück learned from Williams, and from George Oppen, is Pound’s sense that “the natural object is always the adequate symbol.” She marries Williams’s Objectivism, that “moral commitment to the actual, which meant the visible,” with an Eliotic sense of the hidden. »
(en) Mike Ladd(en), « The Hazards review : Sarah Holland-Batt's striking second collection of poetry », The Sydney Morning Herald, (lire en ligne) : « Part four begins with a mysterious poem called Insurgency, which has about it the dreamy objectivism of Louise Glück. »