This essay examines Louise Gluck`s unique way in which she develops a new lyric voice of her own by speaking with "no self" and by employing emotionally removed tone. From her experience of psychoanalysis, Gluck learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from "the enduring general deriving continually from the accepted individual life." It conveys the sense of speech issuing "not from the past but in the present" and "the sense of immediacy [and] volatility." Her lyric voice is so deliberately manipulated as to make Gluck distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the "I" is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Gluck`s unique abilities with the lyric voice contribute to her recognition as a leading American poet.