Biography of Louise Bogan
Born in Livermore Falls, Maine, in 1897. She attended Boston Girls' Latin School and spent one year at Boston University. She married in 1916 and was widowed in 1920. In 1925, she married her second husband, the poet Raymond Holden, whom she divorced in 1937. Her poems were published in the New Republic, the Nation, Poetry: A Magazine of Verse, Scribner's and Atlantic Monthly. For thirty-eight years, she reviewed poetry for The New Yorker.
Bogan found the confessional poetry of Robert Lowell and John Berryman distasteful and self-indulgent. With the poets whose work she admired, however, such as Theodore Roethke, she was extremely supportive and encouraging. She was reclusive and disliked talking about herself, and for that reason details are scarce regarding her private life. The majority of her poetry was written in the earlier half of her life when she published Body of This Death (1923) and Dark Summer (1929) and The Sleeping Fury (1937). She subsequently published volumes of her collected verse, and The Blue Estuaries: Poems 1923-1968, an overview of her life's work in poetry. Her ability is unique in its strict adherence to lyrical forms, while maintaining a high emotional pitch: she was preoccupied with exploring the perpetual disparity of heart and mind. She died in New York City in 1970.
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Louise Bogan Poems
The Crossed Apple
I’ve come to give you fruit from out my orchard, Of wide report. I have trees there that bear me many apples. Of every sort:
O God, in the dream the terrible horse began To paw at the air, and make for me with his blows, Fear kept for thirty-five years poured through his mane, And retribution equally old, or nearly, breathed through his nose.
Up from the bronze, I saw Water without a flaw Rush to its rest in air, Reach to its rest, and fall.
I had come to the house, in a cave of trees, Facing a sheer sky. Everything moved, -- a bell hung ready to strike, Sun and reflection wheeled by.
Tears In Sleep
All night the cocks crew, under a moon like day, And I, in the cage of sleep, on a stranger's breast, Shed tears, like a task not to be put away--- In the false light, false grief in my happy bed,
Song For The Last Act
Now that I have your face by heart, I look Less at its features than its darkening frame Where quince and melon, yellow as young flame, Lie with quilled dahlias and the shepherd's crook.
Last Hill in a Vista
Come, let us tell the weeds in ditches How we are poor, who once had riches, And lie out in the sparse and sodden Pastures that the cows have trodden,
I burned my life, that I might find A passion wholly of the mind, Thought divorced from eye and bone, Ecstasy come to breath alone.
It is yourself you seek In a long rage, Scanning through light and darkness Mirrors, the page,
Epitaph for a Romantic Woman
She has attained the permanence She dreamed of, where old stones lie sunning. Untended stalks blow over her Even and swift, like young men running.
Men Loved Wholly Beyond Wisdom
Men loved wholly beyond wisdom Have the staff without the banner. Like a fire in a dry thicket Rising within women's eyes
To A Dead Lover
The dark is thrown Back from the brightness, like hair Cast over a shoulder. I am alone,
This youth too long has heard the break Of waters in a land of change. He goes to see what suns can make From soil more indurate and strange.
You have put your two hands upon me, and your mouth, You have said my name as a prayer. Here where trees are planted by the water I have watched your eyes, cleansed from regret,
Last Hill in a Vista
Come, let us tell the weeds in ditches
How we are poor, who once had riches,
And lie out in the sparse and sodden
Pastures that the cows have trodden,
The while an autumn night seals down
The comforts of the wooden town.
Come, let us counsel some cold stranger
How we sought safety, but loved danger.