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One evening this past March, I met Glück at the Poetry Project in New York City. “Oh, you like tomatoes? I’m a tomato man myself.” While we spoke, I would occasionally put my phone on speaker so that I could quietly entertain my two-year-old, and sometimes, on hearing him interject, Glück-who became a father at forty-six-would make small talk. Our conversations began in spring 2022 and continued over the next year. Glück, who has worked as a professor of creative writing and as the director of the Poetry Center at San Francisco State University, lives in Noe Valley with his husband, Francesc Xavier Permanyer Bel, an engineer. The first of these, Elements (1982, originally titled Elements of a Coffee Service), shows the influence of his cohort’s readings of Roland Barthes and Walter Benjamin, and the second, Denny Smith (2003), is at times reminiscent of the work of Frederick Barthelme or Lydia Davis, a friend of Glück’s. Glück is also the author of many essays, collected in Communal Nude (2016) two books of poetry and two story collections. His novel About Ed, to be published this fall, is a portrait of-and a kind of posthumous collaboration with-the artist Ed Aulerich-Sugai, his longtime friend and his partner between 19, who died of AIDS-related complications in ’94. Jack the Modernist (1985), his first novel, incorporates real conversations and anecdotes, while Margery Kempe’s startling descriptions of sexual sensation borrow from remarks he solicited from friends.

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In 1981 he and his New Narrative cofounder, Bruce Boone, self-published La Fontaine, a series of experimental cotranslations of the French writer Jean de La Fontaine. Glück has little faith in the notion of the writer as solitary genius. Their writings, which embraced gossip and a profusion of sensory detail, and which sought to capture the American experience of being queer, or female, or decentered in other ways, stood in contrast to the more impersonal formalism of the era’s Language poetry.

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At a San Francisco bookstore, Small Press Traffic, he led free community workshops, attracting a social scene that soon included Steve Abbott, Kathy Acker, Mike Amnasan, Dodie Bellamy, Dennis Cooper, Sam D’Allesandro, Camille Roy, and Gail Scott. In the late seventies, Glück spearheaded the New Narrative movement. “When they were going to bury a crystal at the beach to stop war, for instance, I told them, ‘I’ll join the ritual when there’s human sacrifice,’ ” he said, making easy reference, as he often does, to the writings of Georges Bataille. He did not participate in all their demonstrations. For much of his adult life he was involved with Enola Gay, a group of gay male activists who staged actions opposing the development of nuclear weapons, for which Glück, at one point, spent two weeks in prison. On returning to the U.S., he transferred north to the University of California, Berkeley, where, against the backdrop of the anti–Vietnam War protests, he read Chaucer and Frank O’Hara.

In 1964, Glück began college at UCLA, and during a junior year abroad in Edinburgh, he explored his interests in medieval and Renaissance painting and discovered a talent for ceramics at the College of Art. When he was ten or eleven, his father, a traveling salesman, moved the family to Los Angeles. Glück was born in Cleveland, Ohio, in 1947. The book’s republication in 2020, by NYRB Classics, confirms the old chestnut that great writing will find its readers. Robert Glück’s best-known work, Margery Kempe (1994), is an entirely original novel that juxtaposes apparently autobiographical episodes from the life of “Bob,” a man who has an all-consuming passion for his younger lover, L., with the travails of the titular mystic as she pursues a very hot, very psychedelic, and not particularly saintly romance with the only son of God. On Clipper Street in San Francisco, 1982. Interviewed by Lucy Ives Issue 245, Fall 2023