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.)
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.)