“Trethewey’s writing mines the cavernous isolation, brutality, and resilience of African American history, tracing its subterranean echoes to today.” —New Yorker
Natasha Trethewey served two terms as the 19th Poet Laureate of the United States (2012-2014). In his citation, Librarian of Congress James Billington wrote, “Her poems dig beneath the surface of history—personal or communal, from childhood or from a century ago—to explore the human struggles that we all face.” She is the author of Thrall (2012); Native Guard (Houghton Mifflin), for which she won the 2007 Pulitzer Prize; Bellocq’s Ophelia (Graywolf, 2002), which was named a Notable Book for 2003 by the American Library Association; and Domestic Work (Graywolf, 2000). She is also the author of Beyond Katrina: A Meditation on the Mississippi Gulf Coast (University of Georgia Press). A memoir is forthcoming in 2017.
Her first collection of poetry, Domestic Work (2000), was selected by Rita Dove as the winner of the inaugural Cave Canem Poetry Prize for the best first book by an African American poet and won both the 2001 Mississippi Institute of Arts and Letters Book Prize and the 2001 Lillian Smith Award for Poetry. In her introduction to the book, Dove said, “Trethewey eschews the Polaroid instant, choosing to render the unsuspecting yearnings and tremulous hopes that accompany our most private thoughts—reclaiming for us that interior life where the true self flourishes and to which we return, in solitary reverie, for strength.”
Trethewey is the recipient of fellowships from the Guggenheim Foundation, the Rockefeller Foundation Bellagio Study Center, the National Endowment for the Arts, and the Bunting Fellowship Program of the Radcliffe Institute for Advanced Study at Harvard. Her poems have appeared in such journals and anthologies as American Poetry Review, Callaloo, Kenyon Review, The Southern Review, New England Review, Gettysburg Review, and several volumes of Best American Poetry. At Emory University she is Robert W. Woodruff Professor of English and Creative Writing.
In her second term as Poet Laureate, Trethewey’s signature project is a feature on the PBS NewsHour Poetry Series known as Where Poetry Lives. In this series, Trethewey travels with Senior Correspondent Jeffrey Brown to various cities across the United States in order to explore societal issues through a link to poetry, literature, and Trethewey’s own personal experiences.
In addition to being United States Poet Laureate, she is the State Poet Laureate of Mississippi, from 2012-2016.
Natasha Trethewey served two terms as the 19th Poet Laureate of the United States (2012-2014). She is the author of four collections of poetry, Thrall (2012), Native Guard (2006), for which she was awarded the Pulitzer Prize, Bellocq’s Ophelia (2002); and Domestic Work (2000) which was selected by Rita Dove as the winner of the inaugural Cave Canem Poetry Prize for the best first book by an African American poet and won both the 2001 Mississippi Institute of Arts and Letters Book Prize and the 2001 Lillian Smith Award for Poetry. Her book of nonfiction, Beyond Katrina: A Meditation on the Mississippi Gulf Coast, appeared in 2010. She is the recipient of fellowships from the National Endowment for the Arts, the Guggenheim Foundation, the Rockefeller Foundation, the Beinecke Library at Yale, and the Bunting Fellowship Program of the Radcliffe Institute for Advanced Study at Harvard. At Emory University she is Robert W. Woodruff Professor of English and Creative Writing. In 2012 she was named Poet Laureate of the State of Mississippi and and in 2013 she was inducted into the American Academy of Arts and Sciences.
THRALL (Poetry, 2012)
By unflinchingly charting the intersections of public and personal history, Thrall explores the historical, cultural, and social forces—across time and space—that determine the roles consigned to a mixed-race daughter and her white father. In a vivid series of poems about interracial marriage depicted in the Casta Paintings of Colonial Mexico, Trethewey investigates the philosophical assumptions that underpin Enlightenment notions of taxonomy and classification, exposing the way they encode ideas of race within our collective imagination. While tropes about captivity, bondage, inheritance, and enthrallment permeate the collection, Trethewey, by reflecting on a series of small estrangements from her poet father, comes to an understanding of how, as father and daughter, they are part of the ongoing history of race in America.
BEYOND KATRINA: A MEDITATION (Memoir, 2010)
“With Bellocq’s Ophelia and Native Guard, Natasha Trethewey demonstrated an uncanny and urgent empathy for overlooked but crucial persons and events in the American past. Beyond Katrina extends that nuanced vision and compassion into multiple dimensions of the past, present, and future of this immeasurable national tragedy. It is a great interpretive pleasure and a significant emotional experience to follow her as she sifts the personal, historical, political, and geographic modes of experience to reveal what hurricane Katrina has meant—and can and must mean—for the Gulf Coast and the nation as a whole.” —Anthony Walton, author of Mississippi: An American Journey
NATIVE GUARD (Poetry, 2006)
Natasha Trethewey’s muscular, luminous poems explore the complex history of the American South that belongs to all Americans. The sequence forming the spine of the collection follows the Native Guard, one of the first black regiments mustered into service in the Civil War. In Trethewey’s hometown of Gulfport, Mississippi, a plaque honors Confederate POWs, but there is no memorial to these vanguard Union soldiers. Native Guard is both a pilgrimage and an elegy, as Trethewey skillfully employs a variety of poetic forms to create a lyrical monument to these forgotten voices. Interwoven are poems honoring Trethewey’s mother and recalling her fraught childhood in which her parents interracial marriage was still illegal in 1966 Mississippi. Native Guard is a haunting, beguiling narrative caught in the intersections of public and personal testament.
For my father
I think by now the river must be thick
with salmon. Late August, I imagine it
as it was that morning: drizzle needling
the surface, mist at the banks like a net
settling around us—everything damp
and shining. That morning, awkward
and heavy in our hip waders, we stalked
into the current and found our places—
you upstream a few yards and out
far deeper. You must remember how
the river seeped in over your boots
and you grew heavier with that defeat.
All day I kept turning to watch you, how
first you mimed our guide’s casting
then cast your invisible line, slicing the sky
between us; and later, rod in hand, how
you tried—again and again—to find
that perfect arc, flight of an insect
skimming the river’s surface. Perhaps
you recall I cast my line and reeled in
two small trout we could not keep.
Because I had to release them, I confess,
I thought about the past—working
the hooks loose, the fish writhing
in my hands, each one slipping away
before I could let go. I can tell you now
that I tried to take it all in, record it
for an elegy I’d write—one day—
when the time came. Your daughter,
I was that ruthless. What does it matter
if I tell you I learned to be? You kept casting
your line, and when it did not come back
empty, it was tangled with mine. Some nights,
dreaming, I step again into the small boat
that carried us out and watch the bank receding—
my back to where I know we are headed.
In the dream, I am with the Fugitive
Poets. We’re gathered for a photograph.
Behind us, the skyline of Atlanta
hidden by the photographer’s backdrop—
a lush pasture, green, full of soft-eyed cows
lowing, a chant that sounds like no, no. Yes,
I say to the glass of bourbon I’m offered.
We’re lining up now—Robert Penn Warren,
his voice just audible above the drone
of bulldozers, telling us where to stand.
Say “race,” the photographer croons. I’m in
blackface again when the flash freezes us.
My father’s white, I tell them, and rural.
You don’t hate the South? they ask. You don’t hate it?
—from Native Guard
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