Ron Padgett, "Joe Brainard's Painting Bingo" & "The Austrian Maiden"
LISTEN TO THE SHOW
Al Filreis brought together James Berger and Richard Deming (who traveled together from Yale) and Sophia DuRose to talk about two poems by Ron Padgett. The poems are “The Austrian Maiden” and “Joe Brainard’s Painting Bingo.” Our recording of “The Austrian Maiden” comes from a February 26, 2003, reading Padgett gave at the Kelly Writers House; the poem had just recently been published in Padgett’s book You Never Know (2002). The recording of “Joe Brainard’s Painting Bingo” — a poem published in Great Balls of Fire (1969) — was performed at a November 20, 1979, reading given at a location that is now (sadly) unknown. That reading in its entirety is available at Padgett’s PennSound page; the recording comes to us courtesy of the Maureen Owen Collection of Greenwich Village Poetry, now housed at the Yale Beinecke Rare Book and Manuscript Library.
April 17, 2024
Experiment is exhausted, so it's time to interpret rather than explore
American Quarterly, which at the time was the true home in print of the surging postwar “American Studies” (or: “American Civilization”) movement in academe, sought out poet Louise Bogan to write a short summary of “Modernism in American Literature.” It was published in the Summer 1950 issue. Bogan (1897-1970) was very loosely associated with Euro-American poetic modernism of the 1920s, and perhaps it helped that her first book was published in 1923, the time of Harmonium. Her particular Eliot was the writer who’d discovered a modern mode as part of a “personal point of departure [from] Elizabeth drama and the irony of Jules Laforgue.” She admired the way Yeats and Pound “achieved modernity” yet happily distinguished them from the real thing: “Eliot,” on the other hand, “was modern from the start.”
Bogan, in my view, was essentially done as a poet of significance in 1941, by which time, in any case, most of her poems had been published. She stayed with us a long time, though, and that’s because she’d been hired by the New Yorker to be their main poetry reviewer, holding that powerful position for 38 years, until 1969. I suspect most poetry people would thus know her from the byline on all those short New Yorker notices. (There is, to be sure, a corridor in the house of poetry along which Bogan is said to be “the most accomplished woman poet of the twentieth century.” So begins the introductory note on her at the Poetry Foundation web site.)