Background
Hogue was born on in the Midwest United States and raised in the Adirondack Mountains of upstate New New York
(Poetry. "I drive into an August tropic rain./ The road's ...)
Poetry. "I drive into an August tropic rain./ The road's behind a waterfall and I'm/ hunched squinting like a crone/ for signs. Ghosts mark time ..." (Moving to New Orleans, 1991). "I am moved by Ms. Hogue's apparent knowledge of people, and by her ability to present them convincingly in her poems. This is a quality all too rare in contemporary poetry, characterized as it is by a nearly universal self-absorption. There is wisdom here, and acute observation of the human situation"--John Haines.
http://www.amazon.com/gp/product/0966602846/?tag=2022091-20
(Scheming Women charts a trajectory of American female poe...)
Scheming Women charts a trajectory of American female poetic speakers from within a heterosexual lyric framework to bisexual and lesbian subjects outside that pervasive frame. In close readings of Dickinson, Moore, H.D. and Rich, the author makes a new argument about the division that permeates their poetic speaking subjects. Postulating a revolutionary female subject, she extends Julia Kristeva's theory of poetic language through an intertextual approach, and shows that these relatively advantaged female poets destructure the very poetic power they are able to assert. Hogue concludes that in not reproducing positions of dominance and privilege indicative of larger cultural trends, these key poets exemplify important alternatives to class, race, and gender hierarchies--persuasively demonstrating the promise of what she terms an ethical feminist poetic practice.
http://www.amazon.com/gp/product/079142622X/?tag=2022091-20
Hogue was born on in the Midwest United States and raised in the Adirondack Mountains of upstate New New York
As an undergraduate, she studied the art of literary translation, taking classes at Oberlin College in which she worked from trots (translating classical Japanese poetry in combination with the study of Ezra Pound’s translation work), as well as taking courses in German and French literature.
She specializes in the study of feminist poetics, and has written in the areas of ecopoetics and the poetics of witness. In 2014 she holds the Maxine and Jonathan Marshall Chair in Modern and Contemporary in the Department of English at Arizona State University. Hogue has lived and taught in Iceland, Denmark, at the University of New Orleans, in New York, and Pennsylvania, where she directed the Stadler Center for at Bucknell University for eight years.
She has received a Fulbright Fellowship, a National Endowment for the Arts Fellowship in poetry, the H.D. Fellowship at the Beinecke Library at Yale University, an Arizona Commission on the Arts Project Grant, MacDowell and Wurlitzer residencies, and the Witter Bynner Translation Residency Fellowship at the Santa Fe Art Institute.
In 2003 she became the Maxine and Jonathan Marshall Chair in Modern and Contemporary in the Department of English at Arizona State University, where she teaches English and creative writing. Literary criticism Hogue has published essays on poetry, ranging from that of Emily Dickinson to Kathleen Fraser and Harryette Mullen.
Her critical work includes the co-edited editions We Who Love To Be Astonished: Experimental Feminist Poetics and Performance Artist Innovative Women Poets: An Anthology of Contemporary and Interviews.
And the first edition of H.D.’s The Sword Went Out to Sea (Synthesis of a Dream), by Delia Alton.
(Scheming Women charts a trajectory of American female poe...)
(Poetry. "I drive into an August tropic rain./ The road's ...)
Member Modern Language Association, Peacemaker Commission.
Daughter of Lewis Earl and Lael Evangeline (Erickson) Hogue.