The Desert Nights, Rising Stars
Writers Conference

Picture of Cynthia Hogue

Cynthia Hogue

Desert Nights Rising Stars Writers Conference Faculty, 2018

Cynthia Hogue has published fourteen books, including nine collections of poetry, most recently Revenance, listed as one of the 2014 “Standout” books by the Academy of American Poets, and In June the Labyrinth (Red Hen Press, 2017).  With Sylvain Gallais, Hogue co-translated Fortino Sámano (The overflowing of the poem), from the French of poet Virginie Lalucq and philosopher Jean-Luc Nancy (Omnidawn 2012), which won the Harold Morton Landon Translation Award from the Academy of American Poets in 2013.   Among Hogue’s other honors are an NEA Fellowship in poetry, a MacDowell Colony residency, and the Witter Bynner Translation Fellowship at the Santa Fe Art Institute.  Hogue served as the Distinguished Visiting Writer at Cornell University in the Spring of 2014.  She was a 2015 NEA Fellow in Translation, and is the Maxine and Jonathan Marshall Chair in Modern and Contemporary Poetry Emerita at Arizona State University.


Selected Media

"'The heart's vast and cratered purpose': In June the Labryinth." Elizabeth Savage, Jacket2.

 "Cynthia Hogue's In June the Labryinth turns from the meditations on grief and loss Revenance [her last collection] illuminated with tact and grace to the dimensions of mortality itself [ . . . ] Described as a serial poem, In June layers its individually titled segments around points of concentration through which the spekaer pursues moral and emotional clarity, about herself and the women who activate that investigation."

"Excerpt From: In June the Labryinth by Cynthia Hogue." Cynthia Hogue, Tupelo Quarterly (July 14, 2014). See also "The Unwritten Volume" courtesy of Cynthia Hogue.

(“my particular”)
 
Seeking succor
I traveled your pilgrim’s course
ignorantly, coincidentally as
impenitent, unbeliever,
but guided, as if you,
far away in your particular desert,
could be saved by a few words
said right


"Under Erasure as in: Sign (Silence)." Cynthia Hogue, Drunken Boat. Based on evacuee accounts from Hurricane Katrina. See also this interview on the poem with Rebecca Seiferle or "When the Water Came: Interview-Poems with Victims of Hurricane Katrina by Cynthia Hogue and Rebecca Ross" by Claire Lawton of the Phoenix New Times.

February in New York
Emerged from subway seeking the Floodwall
(stacked across the Liberty Street Bridge in rows:

100 dRAWers)         from New ORleans         streetS: UNDERtaken
flood cleanup:         assembling detritus       of the forgotten
who in August         sWELTer  were               overtaken

Lost here.


"Shapeshifting in the Classroom: An Interview with Cynthia Hogue on Poetry, Race and Privilege." Kimberly Williams, Anomaly (Oct 21, 2016).

"I haven’t ever put it this way to myself, but thanks to your question, perhaps I can say that the way I’ve approached the editing work I’ve done, my concern to bring voices into juxtaposition and dialogue that have not previously been associated, exemplifies my training in mediation and diversity issues [ . . . ] As editors, we wanted to intervene in received racial and gendered accounts of the history of experimental poetry, and enlarge the definition of “innovative” in order to include women poets not usually included in that category."



"'An Element of Blank': On Pain and Experimentation." Cynthia Hogue, Titanic Operas. Critical article on Emily Dickinson.

 "I know of no more accurate representations of pain than are found in Emily Dickinson [ . . . ] Any distinction we might want to draw between emotional and physical pain is rendered impossibly superfluous by that reifying pronoun, It. Pain is a thing having a life of its own: it is. Pain posits us in an infinity of present tense that has no future but itself, containing a past it cannot remember, and containing us in a body of pain."