Poetry for me has always been both playful and contemplative, arising as much from dream as from memory. My fiction, on the other hand, looks outward and has a strong picaresque streak, with plots built on improbable characters whose path I discover as I write my way into and through the books.
I have drunk deeply from many sources in English, Spanish, French, Catalan, German, Italian and Russian.
“A writing niece tells the story of her reading aunt, a magic making, prophesying, professional neighborhood fortune teller in the middle of a family of uncles, cousins, wild grandmother, tender grandfather, lovers, all with political opinions and histories. A lively, funny book.” – Grace Paley
“Highly original and entertaining. Magda Bogin compassionately renders the lives of her characters and gives fresh voice to the silent and still open wounds of the twentieth century.” – Isabel Allende
“This absorbing first novel by the translator of Isabel Allende’s The House of the Spirits shares a sensibility with Allende’s work, especially in its smooth intermingling of realism and the supernatural…Bogin has both a propensity for laying out the shape of events to come–which doesn’t affect the story’s suspense–and a concern with several generations of a family, but she establishes a sense of place and a voice that are entirely her own.” - Copyright 1994 Reed Business Information, Inc.
Critical Study of 12th century women poets with translations from the Provençal. Translated into French & Catalan. Numerous poems anthologized and set to music.
“Magda Bogin has unearthed one of the strongest and loveliest of the varied fragments of women’s culture. Her translations…will delight any woman who cares about our creative tradition.” - Adrienne Rich
“Magda Bogin has lit the poems of the women of an earlier age…and given them to us in their full power.” - Muriel Rukeyser
“Magda Bogin rescues from neglect the women poets who wrote beside the more famous male troubadours of courtly love in Southern France…The strength of her presentation lies in her case for the sudden emergence of these ‘first female voices’ in twelfth-century feudal Languedoc.” - Marina Warner, Manchester Guardian
Marose, the novel on which I’m currently working, is told in the voice of a woman in her 80’s. Once governess to a White Russian prince, she discovers only now that he betrayed her during the Vichy regime.
Another novel, Diva, also in progress, is told in the voice of a 12-year old girl who sings in the children’s chorus of the Metropolitan Opera. Born in Russia and adopted by a writer in New York, she has the voice of a mezzo in the body of a child, and in the middle of Tosca, on stage at the Met, discovers magic powers that launch her on a quest for her biological mother.
From Apparitions, a collection of poetry