Stacy Hubbard


Office: 507 Clemens
Office: 507 Clemens
Phone: 716-645-2575, ext. 1050
hone: 645-2575 ext. 1050





Ph.D., English, Cornell University, 1989
Major: Twentieth Century Literature
Minors: Romantic and Victorian Literature

M.A., English, Cornell University, 1985

B.A., English and Psychology, California State University, Chico, 1981


Associate Professor of English and Adjunct Associate Professor of Comparative Literature and Women's Studies, SUNY at Buffalo, 1997-present

Assistant Professor of English and Adjunct Assistant Professor of Comparative Literature, SUNY at Buffalo, 1987-97

Assistant Director of Research, Cornell Black Periodical Fiction Project, 1986-87

Instructor, Cornell University Department of English, 1982-85


SUNY Chancellor's Award for Excellence in Teaching, 1995

Florence Howe Award for Feminist Studies, Sponsored by the Women's Caucus of the Modern Language Association, 1993

Lilly Endowment Teaching Fellowship, 1989-90


"Mannerist Moore: Poetry, Painting, Photography," in New Essays on Marianne Moore, ed. Cristanne Miller and Robin Schultze (Lewisburg, PA: Bucknell University Press, forthcoming 2004)

"'A Splintery Box': Race and Gender in the Sonnets of Gwendolyn Brooks," in Widening the Discourse: The Florence Howe Award for Feminist Studies: 1990-2002, ed. Roseanne Dufault and Mihoko Suzuki (New York: Modern Language Association Press, forthcoming 2004); originally published in Genre 25:1 (Spring 1992): 47-64.

"Love's 'Little Day': Time and the Sexual Body in Edna St. Vincent Millay's Sonnets," in Millay at 100: A Critical Reappraisal, ed. Diane P. Freedman (Carbondale, IL: Southern Illinois Press, 1995): 100-116. (an excerpt of this article can be accessed at under "Millay.")

"The Many-Armed Embrace: Collection, Quotation and Mediation in Marianne Moore's Poetry," Sagetrieb 12:2 (Fall 1993): 7-32. (an excerpt of this article can be accessed at under "Moore.")

"Telling Accounts: DeQuincey at the Booksellers," in Postmodernism Across the Ages: Essays for a Postmodernity that Wasn't Born Yesterday, ed. Bill Readings and Bennet Schaber (Syracuse, NY: Syracuse University Press, 1993): 153-68.



The Americanist Colloquium
Art and Literature in America: The Real and the Spectacular
Emersonian Poetics
The Domestic Tradition in America
The Feminine, the Primitive, and the Collecting Arts in America, 1893-1935
Gertrude Stein and the Modern Vernacular
Lyric Poetry and Lyric Theory
The Discourses of Modernism
Modern American Women's Poetry


American Literary and Cultural Criticism
Emerson and American Literature
Modern American Poetry
Art and Literature in the Gilded Age (team-taught with Professor Martin Berger of Art History)
Literary Domesticity in America
Collecting in America, 1893-1935
Literary Types: Poetry
American Women Writers
Freud and Modern Fiction
Intensive Survey of Women Writers, 1650-1945
Lyric Poetry
Modern Poetry

New courses in the works:

A graduate seminar on Willa Cather and an undergraduate course on the literature and history of the First World War.


American women's reform writings; sentimental fiction; women's modernist fiction; American regionalism; modernism and the occult; Henry James and Edith Wharton; American modernism and film; Lorine Neidecker; Elizabeth Bishop; Marianne Moore; Modernist women and little magazines; H.D. and Djuna Barnes; American girl's literature; Gertrude Stein; Japanese influences in American modernism; Sylvia Plath; Charlotte Perkins Gilman; American literature and modern science.


My primary interests are American women's writing, women's poetry, transatlantic modernism, the literature of domesticity, literature and the visual arts, and late nineteenth century and early twentieth century American writings on architecture, urban planning, immigration and housing reform. Major authors of interest include Ralph Waldo Emerson, Emily Dickinson, Louisa May Alcott, Henry James, Gertrude Stein, Marianne Moore, Wallace Stevens, Nella Larsen, Willa Cather, Elizabeth Bishop and Gwendolyn Brooks.

My current research involves a series of essays on the modern American poet, Marianne Moore, which include exploration of the significance of photography to her poetry, her reworking of the tradition of the English house poem, and her development of a self-contradictory, recursive and quotational style in her essays (a practice I see as indebted to the essays of Ralph Waldo Emerson). Other projects include an article-length study of nervousness and American architecture in the writings of Charlotte Perkins Gilman, Jacob Riis, Jane Addams, Frank Lloyd Wright and Willa Cather; and an article on anger, eroticism and cross-racial sympathy in the fiction of Louisa May Alcott. In addition, I am currently working on a book-length study of the responses of nineteenth and twentieth century American women writers to the work of Ralph Waldo Emerson, which includes such figures as Margaret Fuller, Louisa May Alcott, Emily Dickinson, Kate Chopin, Jane Addams, Gertrude Stein, Willa Cather, Marianne Moore, Elizabeth Bishop, Marilynne Robinson and Lyn Hejinian.

My work ranges from explorations of the gendering of language and form in women's poetry to investigations of the intersections between literature and social and material history (which gets me into such topics as the relations between domestic fiction and American architectural reforms, the connections between quotational poetry and various kinds of collecting practices, and the influence of portrait photography on modern conceptions of authorship). In recent years I have been teaching courses which combine art historical and photographic materials with both canonical and popular literature and various kinds of materials about social and cultural history. I continue to teach modern poetry courses on a regular basis and my approach in these classes is historical (to what political, social, and technological developments were poets responding?), formal (with what kinds of language and structures?) and eclectic (what sort of arguments and conversations were happening between the realists, regionalists, socialists, feminists, aesthetes, imagists, objectivists and "high modernists"?).