Averno is a small crater lake in southern Italy, regarded by the
ancient Romans as the entrance to the underworld. That place gives
its name to Louise Gl ck's tenth collection: in a landscape turned
irretrievably to winter, it is a gate or passageway that invites
traffic between worlds while at the same time resisting their
reconciliation. "Averno" is an extended lamentation, its long,
restless poems no less spellbinding for being without conventional
resoltution or consolation, no less ravishing for being savage,
grief-stricken. What "Averno" provides is not a map to a point of
arrival or departure, but a diagram of where we are, the harrowing,
enduring present.
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