Louise Bogan

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Louise Bogan (August 11, 1897 – February 4, 1970) was an American poet.

She was appointed the fourth Poet Laureate to the Library of Congress in 1945, and she was the first woman to hold this position.

"She wrote poetry, fiction, and analysis, and she became The New Yorker's regular poetry reviewer." "The fact that she was a woman and that she advocated formal, lyric poetry in an age of extensive experimentation influenced evaluation of her work," he said, until very recently, a little condescending."

Early life

Bogan was born in Livermore Falls, Maine. Bogan attended Girls' Latin School for five years, where she began writing poetry and reading the first issues of Poetry: A Magazine of Verse. Her education eventually gave her the opportunity to attend Boston University. After completing her freshman year, she left the university in 1916.

Bogan's mother, Maidie Alexander, was left in the care of Bogan's children. In 1920, she left Vienna and spent a few years there, where she explored her loneliness and her new identity in verse. Body of This Death: Poems, she returned to New York City and published her first collection of poetry, Body of This Death: Poems. Dark Summer: Poems was her second book of poetry, and shortly after, she was hired as a poetry editor for The New Yorker. Bogan was in touch with influential writers of the time such as William Carlos Williams, Edmund Wilson, Marianne Moore, John Reed, Lola Ridge, and Malcolm Cowley during this period.

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Career

Bogan is the author of six poetry collections, including Body of This Death (1923), Collected Poems (1953-1954), and The Blue Estuaries: Poems, 1923-1968 (1968). She is also the author of several books on prose and translations. Bogan has received two fellowships from the Guggenheim Foundation, the 1955 Bollingen Award from Yale University, and the National Endowment for the Performing Arts. She was appointed Poetry Consultant to the Library of Congress in 1945.

Louise Bogan's lower-middle-class Irish background and inadequate education made it not only difficult to be a female poet in the 1930s and 1940s, but also brought on a lot of anxiety and inconsistency for her. "I have discovered that one woman poet is at a disadvantage in reviewing another, even though the study isn't laudatory," she said.

In 1923, Bogan published Body of This Death, her first collection of poems. Dark Summer, her second book, came six years later in 1929. Ernst Jünger, Goethe, and Jules Renard's translations were also translated. A collection of her collected poems, The Blue Estuaries: Poems 1923–1968, was published with poems such as "The Dream" and "Women" later in Bogan's life.

Her poetry appeared in The New Republic, Poetry: A Magazine of Verse, Scribner's Anthology, and Atlantic Monthly. Collected Poems: 1923–1953 received the Bollingen award in 1955, as well as an Academy of American Poets award in 1959. She was the poetry reviewer for The New Yorker from 1931 to 1970, noting that there are no more pronouncements on lousy verse. There is no such thing as a little bit of mystery in this case. No more trying to be a square."

She was a keen promoter and a mentor of poet Theodore Roethke. She wrote a letter to Edmund Wilson detailing a raucous affair that she and the yet-unveiled Roethke conducted in 1935, during the period between his expulsion from Lafayette College and his return to Michigan. At the time, she seemed to be little impressed by what she described as her "very, very small lyrics"; she may have viewed the case as a potential point for her own creation (see Also Read: Louise Bogan's Collected Letters).

In Journey around My Room (1980), a number of autobiographical works were published posthumously. Louise Bogan: A Portrait by Elizabeth Frank won a Pulitzer Prize in 1986. "Come Out of Your Sleep," Ruth Anderson's sound poem "Little Lobelia," is revised and broadcast on Sinopah 1997 XI.

"Medusa" is a poem that revolves around the speaker's petrification of time, which is open to interpretation. The speaker addresses how nature and life will continue as "the water will never drop, and will not fall" and "the grass will always be growing for hay." Though many interpretations of the poem exist, one potential explanation for the poem's bleakness may have to do with Bogan's depressed and loneliness after she first husband's divorcing and living in poverty with a child. One's fear that one will be sick and missing in time by Medusa is similar to a sense of loss and despair as one feels helpless and trapped in a situation where one's life is unchangeable. Bogan's poetry, according to Brett C. Millier, a Middlebury College professor of Literature, is one in which "betrayal, particularly sexual betrayal," is a constant theme. Bogan is portrayed as the speaker in "Medusa," a stumbling scene in which her eyes no longer drifts away from a better life.

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