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Product Identifiers

PublisherHarperCollins

ISBN-10132850784X

ISBN-139781328507846

eBay Product ID (ePID)28038474516

Product Key Features

Number of Pages208 Pages

Publication NameMonument : Poems New and Selected

LanguageEnglish

Publication Year2018

SubjectGeneral

TypeNot Available

Subject AreaReference

AuthorNatasha Trethewey

FormatHardcover

Dimensions

Item Height0.8 in

Item Weight13.3 Oz

Item Length9 in

Item Width6 in

Additional Product Features

LCCN2018-012255

Reviews"Trethewey's great theme is memory, and in particular the way private recollection and public history sometimes intersect but more often diverge." --The New York Times "Her work raises one's conscience with the truths inherent in simple word combinations . . . and the care taken in ordering the pieces leads the reader from one poem to the next in graceful order." -- Christian Science Monitor "Trethewey's writing mines the cavernous isolation, brutality, and resilience of African American history, tracing its subterranean echoes to today." -- New Yorker "Her poetry reminds us to strive to use language in service of a thoughtful democracy." -- Huffington Post "The depth of her engagement in language marks her as a true poet." -- Washington Post, "This collection of old and new poems by the former poet laureate of the United States includes Trethewey's powerful reflections on the way our nation contends with its diversity and memorializes its past. Think you're not a poetry person? Think again. Trethewey's verse is as accessible as it is brilliant." --The Washington Post "As much as the subjects of Trethewey's poems grabbed me, whether she was writing about Southern history and the Civil War or the violence her mother suffered at the hands of her second husband, resulting in her death, Trethewey's skill with language and form overwhelms me...consider..."Myth": I was so entranced by the way Trethewey deals with loss that I didn't realized what she pulled off formally. Then I had a wait, what? moment followed by a holy shit how did she do that? moment--I still don't have an answer to that second question, and that's fine. Sometimes it's okay to just marvel at a thing." --The Rumpus "Trethewey's great theme is memory, and in particular the way private recollection and public history sometimes intersect but more often diverge." --The New York Times "Her work raises one's conscience with the truths inherent in simple word combinations . . . and the care taken in ordering the pieces leads the reader from one poem to the next in graceful order." -- Christian Science Monitor "Trethewey's writing mines the cavernous isolation, brutality, and resilience of African American history, tracing its subterranean echoes to today." -- New Yorker "Her poetry reminds us to strive to use language in service of a thoughtful democracy." -- Huffington Post "The depth of her engagement in language marks her as a true poet." -- Washington Post, "This collection of old and new poems by the former poet laureate of the United States includes Trethewey's powerful reflections on the way our nation contends with its diversity and memorializes its past. Think you're not a poetry person? Think again. Trethewey's verse is as accessible as it is brilliant." --The Washington Post "Trethewey's great theme is memory, and in particular the way private recollection and public history sometimes intersect but more often diverge." --The New York Times "The poems are haunting reflections on a mother's murder, the ravages of Hurricane Katrina, an early 20th-century prostitute in New Orleans, a regiment of black soldiers guarding Confederate POWs, mixed-race families and the black working class. The opening poem, a new one, titled 'Imperatives for Carrying On in the Aftermath,' ends with an emotional punch to the gut that sets the tone for what follows." -- Atlanta Journal-Constitution "As much as the subjects of Trethewey's poems grabbed me, whether she was writing about Southern history and the Civil War or the violence her mother suffered at the hands of her second husband, resulting in her death, Trethewey's skill with language and form overwhelms me...consider..."Myth": I was so entranced by the way Trethewey deals with loss that I didn't realized what she pulled off formally. Then I had a wait, what? moment followed by a holy shit how did she do that? moment--I still don't have an answer to that second question, and that's fine. Sometimes it's okay to just marvel at a thing." --The Rumpus "Her work raises one's conscience with the truths inherent in simple word combinations . . . and the care taken in ordering the pieces leads the reader from one poem to the next in graceful order." -- Christian Science Monitor "Trethewey's writing mines the cavernous isolation, brutality, and resilience of African American history, tracing its subterranean echoes to today." -- New Yorker "Her poetry reminds us to strive to use language in service of a thoughtful democracy." -- Huffington Post "The depth of her engagement in language marks her as a true poet." -- Washington Post

Intended AudienceTrade

SynopsisLonglisted for the 2018 National Book Award for Poetry " Trethewey's 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." --James H. Billington, 13th Librarian of Congress Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument , Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each section, each poem drawn from an "opus of classics both elegant and necessary,"* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson, Two-time U.S. Poet Laureate and Pulitzer Prize winner Natasha Trethewey's new and selected poems, drawing upon Domestic Work , Bellocq's Ophelia, Native Guard, Congregation , and Thrall , while also including new work written over the last decade., Urgent new poems on race and gender inequality, and select poems drawing upon Domestic Work, Bellocq's Ophelia, Native Guard, Congregation, and Thrall, from two-time U.S. Poet Laureate and Pulitzer Prize winner Natasha Trethewey.Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument , Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, and Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each poem drawn from an "opus of classics both elegant and necessary,"* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson"[Trethewey's 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." --James H. Billington, 13th Librarian of Congress, Urgent new poems on race and gender inequality, and select poems drawing upon Domestic Work, Bellocq's Ophelia, Native Guard, Congregation, and Thrall, from two-time U.S. Poet Laureate and Pulitzer Prize winner Natasha Trethewey. Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument, Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, and Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love. In this setting, each poem drawn from an "opus of classics both elegant and necessary,"* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future. *Academy of American Poets' chancellor Marilyn Nelson "[Trethewey's 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." --James H. Billington, 13th Librarian of Congress

LC Classification NumberPS3570.R433A6 2018