This article critiques the poetry of Louise Gluck, a Nobel Prize winner in literature, by the author Miles Mathis. Mathis argues that gluck is the “worst famous poet of all time,” deeming her both obnoxious and technically unskilled. He attributes her fame and accolades to her background as a “rich Jewish girl with lots of contacts” and her embrace of “Modernism,” which he characterizes as a deliberate degradation of art by talentless and “nasty” individuals. Mathis contrasts gluck’s poems, such as “Mock Orange,” “The Untrustworthy Speaker,” and “Elms,” which he finds to be filled with negativity, self-pity, and an absence of craft, with examples of what he considers genuine poetic skill. He contrasts gluck’s simplistic and droning style with the rich imagery, musicality, and complex meter found in poets like Gerard Manley Hopkins, Dylan Thomas, Hart Crane, Christina Rossetti, and Edna St. Vincent Millay. Mathis believes Modernist poetry, influenced by Existentialism and championed by the media, promotes nihilism, ugliness, and despair as authentic, whereas true art creates imagined worlds with beauty and depth. He dismisses gluck’s work as “shallow political posing and exhibit-your-symptom whining,” contrasting it with the “dreamworld” of skilled poets.