Bild på författaren.

Natasha Trethewey

Författare till Memorial Drive: A Daughter's Memoir

13+ verk 1,920 medlemmar 71 recensioner 4 favoritmärkta

Om författaren

Natasha Trethewey was the Poet Jaureate Consultant in Poetry to the Library of Congress, 2012-14. She is the author of four collections of poetry: Thrall, Domestic Work, Bellocq's Ophelia, and Native Cuard, for which she was awarded the Pulitzer Prize. She is the Robert W. Woodruff Professor of visa mer English and Creative Writing at Emory University. visa färre
Foto taget av: Courtesy of the Pulitzer Prizes.

Verk av Natasha Trethewey

Memorial Drive: A Daughter's Memoir (2020) 570 exemplar, 30 recensioner
Native Guard: Poems (2006) 545 exemplar, 18 recensioner
Thrall: Poems (2012) 205 exemplar, 6 recensioner
Bellocq's Ophelia: Poems (2002) 128 exemplar, 6 recensioner
Domestic Work (2000) 127 exemplar, 2 recensioner
Monument: Poems New and Selected (2018) 126 exemplar, 4 recensioner
The Best American Poetry 2017 (2017) — Redaktör — 97 exemplar, 1 recension
Beyond Katrina: A Meditation on the Mississippi Gulf Coast (2010) — Författare — 87 exemplar, 3 recensioner
The House of Being (Why I Write) (2024) 15 exemplar, 1 recension
White Lies 1 exemplar

Associerade verk

The 1619 Project: A New Origin Story (2021) — Bidragsgivare — 1,574 exemplar, 26 recensioner
The Fire This Time: A New Generation Speaks about Race (2016) — Bidragsgivare — 866 exemplar, 32 recensioner
The Best American Poetry 2000 (2000) — Bidragsgivare — 213 exemplar
The Art of Losing (2010) — Bidragsgivare — 207 exemplar, 21 recensioner
African American Poetry: 250 Years of Struggle and Song (2020) — Bidragsgivare — 181 exemplar, 4 recensioner
The Best American Poetry 2003 (2003) — Bidragsgivare — 174 exemplar, 1 recension
The Best American Poetry 2008 (2008) — Bidragsgivare — 135 exemplar, 4 recensioner
The Best American Poetry 2009 (2009) — Bidragsgivare — 133 exemplar, 1 recension
Black Nature: Four Centuries of African American Nature Poetry (2009) — Bidragsgivare — 116 exemplar
The 100 Best African American Poems (2010) — Bidragsgivare — 98 exemplar, 5 recensioner
Tenderheaded: A Comb-Bending Collection of Hair Stories (2001) — Bidragsgivare — 92 exemplar, 2 recensioner
Legitimate Dangers: American Poets of the New Century (2006) — Bidragsgivare — 88 exemplar
The Best American Poetry 2011 (2011) — Bidragsgivare — 85 exemplar, 4 recensioner
The Best American Poetry 2012 (2012) — Bidragsgivare — 83 exemplar, 1 recension
The Best American Poetry 2018 (2018) — Bidragsgivare — 79 exemplar, 1 recension
Jacob Lawrence: The Migration Series (2015) — Bidragsgivare — 75 exemplar, 2 recensioner
The Hungry Ear: Poems of Food and Drink (2012) — Bidragsgivare — 64 exemplar, 1 recension
Bullets Into Bells: Poets and Citizens Respond to Gun Violence (2017) — Bidragsgivare — 58 exemplar, 3 recensioner
Of Poetry and Protest: From Emmett Till to Trayvon Martin (2016) — Bidragsgivare — 58 exemplar
The Best American Poetry 2019 (2019) — Bidragsgivare — 57 exemplar, 2 recensioner
The Ringing Ear: Black Poets Lean South (2007) — Bidragsgivare — 34 exemplar
This Is the Honey: An Anthology of Contemporary Black Poets (2024) — Bidragsgivare — 32 exemplar, 1 recension
Gathering Ground: A Reader Celebrating Cave Canem's First Decade (2006) — Bidragsgivare — 30 exemplar, 1 recension
Bearden's Odyssey: Poets Respond to the Art of Romare Bearden (2017) — Bidragsgivare — 11 exemplar
Vinegar and Char: Verse from the Southern Foodways Alliance (2018) — Bidragsgivare — 5 exemplar


Allmänna fakta



Stunning. Must re-read soon.
JackieCraven | 5 andra recensioner | May 23, 2024 |
Real Rating: 4.8* of five

The Publisher Says: An exquisite meditation on the geographies we inherit and the metaphors we inhabit, from Pulitzer Prize winner and nineteenth U.S. poet laureate Natasha Trethewey

In a shotgun house in Gulfport, Mississippi, at the crossroads of Highway 49, the legendary highway of the Blues, and Jefferson Street, Natasha Trethewey learned to read and write. Before the land was a crossroads, however, it was a a farming settlement where, after the Civil War, a group of formerly enslaved women, men, and children made a new home.

In this intimate and searching meditation, Trethewey revisits the geography of her childhood to trace the origins of her writing life, born of the need to create new metaphors to inhabit “so that my story would not be determined for me.” She recalls the markers of history and culture that dotted the horizons of her the Confederate flags proudly flown throughout Mississippi; her gradual understanding of her own identity as the child of a Black mother and a white father; and her grandmother’s collages lining the hallway, offering glimpses of the world as it could be. With the clarity of a prophet and the grace of a poet, Trethewey offers up a vision of writing as of our own lives and the stories of the vanished, forgotten, and erased.


My Review
: Her mother sang her John Brown's Body as a means of soothing the Chernobyl-level burn of racism as the mixed-"race" (how I hate that we still use that horrible, divisive pseudoscientific calumny by default!) family drove past confederate battle flags! (Frequently, then, in her home state of's on their state flag.) Now, how horrifying an image is that, when that damn dirge that starts with the words "John Brown's body lies a-moldering in the grave" is soothing?! This is the absolute most powerful statement of the horrors the convulsively dying Jim Crow system of the US South inflicted on people of color (another digression: This locution is deeply uncomfortable to white people like me who, in the 1960s, were loudly excoriated for calling African-Americans either "black" or "colored" in the South).

Returning to my scheduled review: Poet Trethewey was unique, then, from birth forward. She was the product of miscegenation (that horrifying term I'm glad I need to define) as her parents were not legally married in her home state until Loving v. Virginia was decided a year after she was born. Her Black matrilineal line was stuffed with women who had embodied what can only be called triumphs of the will, and all the merrier to say that when I know that this application of that phrase will horrify Nazi true believers. The influence of her poet/professor papa is no doubt there somewhere, but Poet Trethewey does not work on one cylinder, she fires on all of 'em.

I can imagine some astute observers wondering what the devil is going on here. Mudge HATES poetry!some are thinking. Some are quite correct. I loathe the experience of reading poetry the same way I loathe the experience of riding the bus. It's crammed with stuff I don't want to know about, it's uncomfortably tight to sit in and in no way offers me enough room or seats designed for my spatial dimensions, it sways and janks and judders over each crack in the road, and the air conditioning almost never works until it suddenly blasts January-on-the-Siberian-steppe gales for a few seconds.

That does not mean I am insensible to its influence on most people. I see it, I get it, I am not of that group but they are quite clearly expressing their approval. And, lest we lose sight of this, the book is Poet Trethewey's *writing about writing*; that is always interesting. As I suspect all good writing must be, the life led by the child-poet became the matter of the adult; in her experiences of racism, white supremacy, and Southern culture, she speaks with a voice that reaches deep into the National Conversation of the US as well as into the emotional cores of many, many, many people.

At under 100pp, this is an afternoon's read for me. It was a pleasure to read...if you've read Memorial Drive, her memoir, you'll know that Poet Trethewey is gifted in prose writing, and if you haven't what is wrong with you?!...and measures her life against her need to write, like a learner sounding out words in a new language. The essay is part of Yale University Press's terrific series of writerly essays. I have only one cavil to report. I felt the origin of the essay as a lecture rather more than I would have liked. I put it down to the poet's innate aurality of expression. I ended up needing to read passages aloud to understand what was being said, and that was also the only way I felt I *got* the Southernness of the Trethewey household. (This also got me very dark glowers from my roommate who is hostile to things literary.)

Hardly a sin, but for this reader a discomfort I could've done without. So can I recommend it to you? Absolutely, and I do. I think anyone interested in writers as entities who transmute life into Art, people intrigued by the shocking dichotomies of Southern culture, and women who batten on reading the success and happiness of their fellows, will all be especially gruntled. I hope men who wonder what hell the fuss about this poetry thing is will give it a read, too, as well as any and all people of color looking to gladden themselves on the success of their own.
… (mer)
richardderus | Apr 8, 2024 |
A captivating, beautifully rendered, harrowing memoir.
decaturmamaof2 | 29 andra recensioner | Nov 22, 2023 |
Poignant, sad, difficult to read, and hard to put down. This is the story of the author who at the age of 19 had her life forever changed.

Sadly, her previous stepfather followed through with his threat and cold-bloodedly put a bullet through Natalie's mother's forehead.
At first a journey into Civil Rights, then when Natasha's mother is murdered, she takes an in-depth look at her mother's life and the way in which choosing the wrong person changed their lives forever.

At Memorial Drive in 1985, Natasha lost her mother at the hands of a man who had a mission to kill. The way in which he spoke to Natasha when her mother was not home was creepy and chilling. He promised to kill, sadly it wasn't taken seriously.

This is a small book that literally packs a punch.

… (mer)
Whisper1 | 29 andra recensioner | Aug 6, 2023 |



Du skulle kanske också gilla

Associerade författare

Yusef Komunyakaa Contributor
Isaac Cates Contributor
C. Dale Young Contributor
Dan Albergotti Contributor
Monica Youn Contributor
Meg Kearney Contributor
R. T. Smith Contributor
John Hodgen Contributor
Christian Wiman Contributor
Crystal Williams Contributor
Nickole Brown Contributor
Fady Joudah Contributor
David St. John Contributor
Jericho Brown Contributor
Charles Simic Contributor
Jamaal May Contributor
Lucy Wainger Contributor
Danusha Laméris Contributor
Emily Van Kley Contributor
Danez Smith Contributor
Leonard Cohen Contributor
Pamela Sutton Contributor
Matthew Olzmann Contributor
James Valvis Contributor
Vievee Francis Contributor
John Ashbery Contributor
Amit Majmudar Contributor
Wendy Videlock Contributor
Sharon Olds Contributor
John Murillo Contributor
Taije Silverman Contributor
W. J. Herbert Contributor
Aracelis Girmay Contributor
Michael Ryan Contributor
Robert Pinsky Contributor
Carl Dennis Contributor
Terrance Hayes Contributor
Sherod Santos Contributor
John James Contributor
John Koethe Contributor
Claudia Emerson Contributor
Stanley Plumly Contributor
Amy Gerstler Contributor
Dorianne Laux Contributor
Philip Levine Contributor
Kevin Young Contributor
Rodney Jones Contributor
Tony Hoagland Contributor
Gregory Orr Contributor
Carl Phillips Contributor
Margaret Gibson Contributor
Michael Collier Contributor
David Feinstein Contributor
Mary Jo Bang Contributor
Reginald Gibbons Contributor
Dan Beachy-Quick Contributor
Allison Cobb Contributor
Dean Young Contributor
John Brehm Contributor
David Barber Contributor
Major Jackson Contributor
Billy Collins Contributor
Jeffrey Harrison Contributor
Joyce Carol Oates Contributor
Chase Twichell Contributor
Maggie Smith Contributor
Matthew Zapruder Contributor
Judson Mitcham Contributor
Paisley Rekdal Contributor
A. E. Stallings Contributor
Cyrus Cassells Contributor
Bruce Bond Contributor
Carolyn Forché Contributor
Mark R. Robinson Cover designer


Även av

Tabeller & diagram