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Thrall: Poemsby Natasha Trethewey
Synopses & Reviews
19th Poet Laureate of the United States
“A powerful, beautifully crafted book.”—The Washington Post
“Ripe with the perfidies and paradoxes of thralldom both personal and public, it is utterly elegant.”—Elle
Charting the intersections of public and personal history, Thrall explores the historical, cultural, and social forces that determine the roles to which a mixed-race daughter and her white father are consigned. In a brilliant series of poems about the taxonomies of mixed unions, Natasha Trethewey creates a fluent and vivid backdrop to her own familial predicament. While tropes about captivity, bondage, knowledge, and enthrallment permeate the collection, Trethewey unflinchingly examines our shared past by reflecting on her history of small estrangements and by confronting the complexities of race and the deeply ingrained and unexamined notions of racial difference in America.
“Natasha Trethewey’s Thrall is simply the finest work of her already distinguished career . . . Rarely has any poetic intersection of cultural and personal histories felt more inevitable, more painful, or profound.” —David St. John, author of The Face: A Novella in Verse
“A voice that not only expands the position of [poetry], but helps us better understand ourselves. Her poems tell stories of loss and reckoning, both personal and historical.” —Dr. James Billington, Librarian of Congress
"Trethewey made headlines and signaled a generational shift with her appointment this year as U.S. poet laureate. Already known for her 2007 Pulitzer Prize — winning Native Guard and for her articulate, deftly shaped, and sometimes research-driven poems about history and race, Trethewey in this fourth collection takes her familiar powers to non — U.S. turf, considering race, embodiment, guilt and liberation in paintings from Spain and Mexico. In one of the famous casta paintings illustrating Spanish colonial notions of race, a mulatto boy 'is a palimpsest of paint — / layers of color, history rendering him// that precise shade of in-between.' Lightly rhymed pentameters about Diego VelÃ¡zquez's painting 'Kitchen Maid' pay homage to the scrutinized character: 'she is the mortar/ and the pestle and rest in the mortar — still angled/ in its posture of use'; the patient title poem considers Juan de Pareja, a painter who started life as VelÃ¡zquez's slave. When Trethewey turns her attention back to contemporary America, she looks at her own family: her late African-American mother and her white father, his life 'showing me// how one life is bound to another, that hardship/ endures.' Trethewey's ideas are not always original, but her searching treatments of her own family, and of people in paintings, show strength and care, and a sharp sense of line. (Sept.)" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
The Pulitzer Prize–winning Native Guard explored Natasha Trethewey’s relationship with her black mother. Her new collection of poems, Thrall, takes on the uneasy relationship between Trethewey and her white father. It charts the intersections of public and personal history that determine the roles to which a mixed-race daughter and her white father are consigned.
Through elegiac verse that honors her mother and tells of her own fraught childhood, Natasha Trethewey confronts the racial legacy of her native Deep South — where one of the first black regiments, the Louisiana Native Guards, was called into service during the Civil War. Trethewey's resonant and beguiling collection is a haunting conversation between personal experience and national history.
Winner of the 2007 Pulitzer Prize for poetry, Natasha Tretheweys elegiac Native Guard is a deeply personal volume that brings together two legacies of the Deep South.
The title of the collection refers to the Mississippi Native Guards, a black regiment whose role in the Civil War has been largely overlooked by history. As a child in Gulfport, Mississippi, in the 1960s, Trethewey could gaze across the water to the fort on Ship Island where Confederate captives once were guarded by black soldiers serving the Union cause. The racial legacy of the South touched Tretheweys life on a much more immediate level, too. Many of the poems in Native Guard pay loving tribute to her mother, whose marriage to a white man was illegal in her native Mississippi in the 1960s. Years after her mothers tragic death, Trethewey reclaims her memory, just as she reclaims the voices of the black soldiers whose service has been all but forgotten.
Included in this beautiful new edition of Native Guard is an audio CD of the poems read by the author — a lovely gift for anyone who loves poetry that speaks to the heart and mind.
About the Author
Natasha Trethewey is the author of two previously published collections, Belloq's Ophelia and Domestic Work. In addition to the Pulitzer Prize, she was the recipient of the Cave Canem Poetry Prize, a Guggenheim Fellowship, a Grolier Poetry Prize, and a Pushcart Prize. She teaches creative writing at Emory University.
Table of Contents
Miracle of the Black Leg 9
On Captivity 13
1. DE ESPAÑOL Y DE INDIA PRODUCE MESTIZO 16
2. DE ESPAÑOL Y NEGRA PRODUCE MULATO 19
3. DE ESPAÑOL Y MESTIZA PRODUCE CASTIZA 22
4. THE BOOK OF CASTAS 24
Kitchen Maid with Supper at Emmaus; or, The Mulata 27
The Americans 33
1. DR. SAMUEL ADOLPHUS CARTWRIGHT ON
DISSECTING THE WHITE NEGRO, 1851 33
2. BLOOD 34
3. HELP, 1968 35
Mano Prieta 37
De Español y Negra; Mulata 39
1. NOSTOS 41
2. QUESTIONS POSED BY THE DREAM 42
3. SIREN 43
Torna Atrás 48
Bird in the House 50
How the Past Comes Back 72
On Happiness 74
Vespertina Cognitio 75
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