Armantrout was born in Vallejo, California. An only child, she was raised among military communities on naval bases, predominantly in San Diego. In her autobiography True, she describes herself as having endured an insular childhood, a sensitive child of working class, Methodist fundamentalist parents. In 1965, whilst living in the Allied Gardens district with her parents, Armantrout attended San Diego State University, intending to major in anthropology. During her studies she transferred to English and American literature, later studying at the University of California, Berkeley. At Berkeley, she studied with poet Denise Levertov and befriended Ron Silliman, who would become involved with the Language poets of late 1980s San Francisco. Armantrout graduated from Berkeley in 1970 and married Chuck Korkegian in 1971, whom she had dated since her first year of university.
Literary career
Armantrout published poetry in Caterpillar and from this point began to view herself as a poet. She took a master's degree in creative writing from San Francisco State University, and wrote Extremities, her first book of poetry. Armantrout was a member of the original West Coast Language group. Although Language poetry can be seen as advocating a poetics of nonreferentiality, Armantrout's work, focusing as it often does on the local and the domestic, resists such definitions. However, unlike most of the group, her work is firmly grounded in experience of the local and domestic worlds and she is widely regarded as the most lyrical of the Language Poets. Critic Stephanie Burt at the Boston Review commented: "William Carlos Williams and Emily Dickinson together taught Armantrout how to dismantle and reassemble the forms of stanzaic lyric— how to turn it inside out and backwards, how to embody large questions and apprehensions in the conjunctions of individual words, how to generate productive clashes from arrangements of small groups of phrases. From these techniques, Armantrout has become one of the most recognizable, and one of the best, poets of her generation". As Burt noted, and as Armantrout herself acknowledges, her writing was significantly influenced by reading William Carlos Williams, whom she credits with developing her "sense of the line" and her understanding that "line breaks can create suspense and can destabilize meaning through delay." The basic unit of meaning in Armantrout's poetry is either the stanza or the section, and she writes both prose poetry and more traditional stanza-based poems. In a conversation with poet, novelist, and critic Ben Lerner for BOMB Magazine, Armantrout said that she is more likely to write a prose poem "when hear the voice of a conventional narrator in head." Armantrout's poems have appeared in many anthologies, including In The American Tree, Language Poetries, Postmodern American Poetry: A Norton Anthology, From the Other Side of the Century, Out of Everywhere, American Women Poets in the 21st Century: Where Language Meets the Lyric Tradition,, The Oxford Book of American Poetry and The Best American Poetry of 1988, 2001, 2002, 2004 and 2007. Armantrout has twice received a Fund For Poetry Grant and was a California Arts Council Fellowship recipient in 1989. In 2007 she was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. She is currently one of ten poets working on a project entitled The Grand Piano: An Experiment In Collective Autobiography. Writing on the volume began in 1998 and the first volume was published in November 2006, and thereafter in three-month intervals. Wobble, to be published in November 2018, is a finalist for the 2018 National Book Award for Poetry.
Poetry
;Collections
1991: Necromance
1991: Couverture - a selection in French translation
