Deborah Bogen's first collection, Landscape with Silos, was a National Poetry Series finalist and winner of the 2005 XJ Kennedy Poetry Prize. Her poems and reviews appear widely. She and her husband, the Philosopher of Science, Jim Bogen, live in Pittsburgh, PA where, for the past decade, she's run free writing workshops.

Other poems by Deborah Bogen in Verse Daily:
September 5, 2008:   "Special Ed Girl" "Remembering was hoisting into sight..."
July 4, 2008:   "Cantilevered Bedtime Story" "Wallpaper farm, the girl..."
January 6, 2008:   "bearing on the glory of love" "There are twelve trees on my block...."
October 4, 2006:   "Crows" " He said John, immediately..."
March 28, 2004:  "Moving the Moon" "I'm not interested in the shaggy horse..."

Books by Deborah Bogen:

Other poems on the web by Deborah Bogen:
"November"
Three poems
"Gravity"
"Call to Poets"
"Waiting to Write the Great American Poem"
"At the Whitney"
"Today"

Deborah Bogen's Website.

About Let Me Open You a Swan:

"s ravishing second book, Let Me Open You a Swan, brims with intellect and artistry. The sharp intelligence of these poems manifests itself in muscular analogies and in images that bristle with complexity. Beauty is everything in this book and, in service to it, Bogen deftly deploys an utterly distinctive poetic line inflected by the music of Anglo-Saxon prosody. In 'The Migraine's Art' she writes 'harried by heaven's hurt... /the fox is out and bells are tolling fire/ or priests,/ their knuckles a nick in my skull.' Despite the beauty (or more accurately in tandem with it), the subject matter of Let Me Open You a Swan is always sorrow. In Bogen, suffering cannot be transcended, and yet, while tribulation is fiercely present, it brings to the world an ironic and stubborn luster, a glint, a scintilla of light. Let Me Open You a Swan is a vibrant and wholly original work."
—Lynn Emanuel

"Deborah Bogen's Let Me Open You a Swan is a book of distilled emotional grit. She sees clearly into the past with a fierce imagination that brings forward the body's cargo of mortality, the physical vs. the metaphysical. She intensifies and amplifies personal myth so that her endings turn us both inward and outward—where our only solace, our only chance at resolution might be this charged examination of our soul's situation—that knowledge like a small flame just in front of us."
—Christopher Buckley