Marie Howe

Throughout her career, she has received fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the Harvard Radcliffe Institute, and The Fine Arts Work Center in Provincetown. In 1987, her debut collection The Good Thief was selected by Margaret Atwood for the National Poetry Series. Her subsequent collections include What the Living Do (1997), The Kingdom of Ordinary Time (2008), and Magdalene (2017), which was Longlisted for the National Book Award for Poetry. In 2024 W. Norton & Company published her New & Selected Poems, while Bloodaxe Books published its UK companion, What the Earth Seemed to Say, to critical acclaim.

Marie Howe studied at Columbia University, Columbia University School of the Arts and University of Windsor. The recorded working language is English. The field of work recorded is literary activity, poetry and creative writing. Places of work recorded in the authority are New York City. Employment is recorded with New York University and Tufts University. Distinctions recorded are Guggenheim Fellowship, National Endowment for the Arts Fellowship and Fellowship of the Academy of American Poets.

• Name — Marie Howe • Born — 18 October 1950 • Birthplace — Rochester, New York, U.S. • Occupation — Poet, Professor • Education — University of Windsor (B.A.) Columbia University (M.F.A) • Genre — Poetry • Notable Works — * The Good Thief (1988) • What the Living Do (1998) • The Kingdom of Ordinary Time (2008) • Magdalene (2017) • New and Selected Poems (2024) • What the Earth Seemed to Say (2024) • Children — Grace Inan Howe • Awards — * Pulitzer Prize for Poetry (2025) • Guggenheim Fellowship (1998) • National Poetry Series (1987) • Website — https: www.mariehowe.com/

Howe was born in Rochester, New York. In a 2013 interview with On Being, Howe would note that In the 1960s, Howe enrolled in the Academy of the Sacred Heart, a socially progressive, parochial all-girls school, where the nuns centered what Theology has to do with “social justice, service, questioning, and authority.” Howe would later observe that “it was there that I began to appreciate that spirituality could be rigorous, imaginative and an essential part of living in the physical world.” During this time she would spend “hours lying in the bathtub” reading from The Lives of Saints, which would become her first example of “women who were the subjects of their own lives, not objects.” Howe would later attend the University of Windsor, a historically Roman Catholic university in Ontario, Canada, where she earned a BA degree in English. She would subsequently relocate to Groton, Massachusetts, to pursue a career as a journalist, and later a high school English teacher. In 1980, she received a fellowship to the Summer Humanities Institute at Dartmouth College, where she had applied to study Philosophy, but ended up enrolling in a creative writing workshop. In 1981, Howe relocated to Concord, Massachusetts. When reflecting on this time later in life, Howe would note that The following year, she moved to New York City to pursue an MFA in Creative Writing at Columbia University School of the Arts.

Howe worked briefly as a newspaper reporter in Rochester and as a high-school English teacher in Massachusetts. She did not devote serious attention to writing poetry until she turned 30. At the suggestion of an instructor in a writers' workshop, Howe applied to and was accepted at Columbia University where she studied with Stanley Kunitz and received her M.F.A. in 1983. She has taught writing at Tufts University and Warren Wilson College. She is presently on the writing faculties at Columbia University, Sarah Lawrence College, and New York University. Her first book, The Good Thief, was selected by Margaret Atwood as the winner of the 1987 Open Competition of the National Poetry Series. In 1998, she published her best-known book of poems, What the Living Do; the title poem in the collection is a haunting lament for her brother with the plain-spoken last line: "I am living, I remember you." Howe's brother John died of an AIDS-related illness in 1989. "John’s living and dying changed my aesthetic entirely," she has said. In 1995, Howe co-edited, with Michael Klein, a collection of essays, letters, and stories entitled In the Company of My Solitude: American Writing from the AIDS Pandemic. Her poems have appeared in literary journals and magazines including The New Yorker, The Atlantic, Poetry, Agni, Ploughshares, and Harvard Review. Her honors include National Endowment for the Arts and Guggenheim fellowships. In January 2018, Howe was elected a Chancellor of the Academy of American Poets.

• Illustration — Howe at New York City Poetry Rally 2014, with Suzanne Gardinier Marie Howe is praised for her poetry which captures the metaphysical and spiritual dimensions of everyday life. Her work explores the nature of the soul and the self through literary themes of life, death, love, pain, hope, despair, sin, virtue, solitude, community, impermanence, and the eternal. Despite the strong themes in her writing, Howe subtly expresses these messages through the explanation of daily tasks and regular lifestyles in most of her poems. Her first collection, The Good Thief (1988), was made philosophical and reflective with the incorporation of Biblical and mythical allusions. Margaret Atwood, who chose this book for the National Poetry Series, praised Howe’s “poems of obsession that transcend their own dark roots.” Additionally, Stanley Kunitz noted, “Her long, deep-breathing lines address the mysteries of flesh and spirit, in terms accessible only to a woman who is very much of our time and yet still in touch with the sacred.” Such an esteemed review justified the selection of The Good Thief for the Lavan Younger Poets Prize from the American Academy of Poets. A year after the publication of her first poetry book (1989), Howe’s brother John died from AIDS. According to Howe in an AGNI interview, “John’s living and dying changed my aesthetic completely.” Consequently in 1997, she published a second collection, What the Living Do, as an elegy for John which reflected a new style. Stripped of metaphors, her writing was described as “a transparent, accessible documentary of loss” by the Poetry Foundation. In 2008, Howe distanced herself from the personal narrative and returned to the spiritual style in The Kingdom of Ordinary Time. This is most representative of Howe’s style now, a balance between the ordinary and unordinary. It is best put by playwright Eve Ensler, who describes her poems as “a guide to living on the brink of the mystical and the mundane.”