Undeniable is the diversity of the African-American experience in America. Although we share in similar ancestry and, for some, skin pigmentation, there still exist many differences not only about how we define ourselves individually, but also how we see ourselves through the eyes of others and the kaleidoscope of varying experiences that we have. These different experiences, further, become made known to the world in the aesthetic expressions of writers and artists. Most notable examples include, The Autobiography of Malcolm X, Invisible Man by Ralph Ellison, and—most recently—Beyond Katrina by Natasha Trethewey. All of these recognized scholarly expressions attempt to articulate, in some way, the consummate experiences of an individual.
Moreover, although experiences vary, there are those which may be shared by African-Americans collectively. Using Trethewey’s Beyond Katrina as a primary example, one may find specific themes which are shared collectively by people of African descent, and those include the effect of the absence of the familial male, tragedy as a motivating force for African-Americans, and the history of America as told by the oppressor.
Among the many pervasive themes in Trethewey’s Beyond Katrina is the effect of the absence of the familial male. Natasha’s brother is incarcerated for the entire duration of the book, however it does not appear so considering the amount of the letters that they exchange. Although he is locked away, he still has an obvious presence in her life. This serves as a direct distinction between many other African-Americans today in realization that most families now develop in the absence of black male figures. In a letter written between Joe and Natasha, the context around which Joe fo...
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...us to our past and remind us across time and space how we are alike, not that we are different” (Transcripts for Poems). These connecting experiences sometime involve the absence of a male figure. They, for Blacks, almost always has value in tragedy as a motivating force, of the most obvious tragedies in slavery. Finally, transcending class, race, or ethnicity is the distortion of history preventing the development of the collective memory.
Works Cited
Charles, Ron. “U.S. Poet Laureate Natasha Trethewey: Poetry still matters.” Washington Post. 2 May, 2013. Washingtonpost.com. 6 April, 2014.
Transcript for Poems, History and Memory with Natasha Trethewey. ttbook.org. 6 April, 2014.
Trethewey, Natasha. Beyond Katrina: A Meditation on the Mississippi Gulf Coast. Athens, GA: University of Georgia Press, 2010. Project MUSE. Web. 6 Apr. 2014. http://muse.jhu.edu/
Donald Worster introduces a framework for analyzing environmental history along the three dimensions of culture, social organization, and nature, which can be used to investigate how the ‘levees only’ approach to managing the waters of the Mississippi River set the scene for the disastrous effects of Hurricane Katrina in New Orleans, Louisiana (4-5). The ‘levees only’ approach grew from and promoted certain cultural, social, and natural conditions in New Orleans, and each of these elements critically interacted to contribute to the human and environmental destruction unleashed by Katrina. Cultural, social, and natural elements of Worster’s framework individually shaped the essential preconditions of the Katrina disaster. Culturally, New Orleans’s
Niman, Michael I. "KATRINA's AMERICA: Failure, Racism, And Profiteering." Humanist 65.6 (2005): 11. MasterFILE Premier. Web. 26 Nov. 2013.
Rankine also shares the horrible tragedy of hurricane Katrina experienced by the black community, where they struggled for their survival before and post the hurricane catastrophes. She reports that the lives of black people in the disaster were of no cost for white administration and they delayed the help. She expresses this by writing, “I don’t know what the water wanted. It wanted to show you no one would come” (Rankine 94)(11).
A storm such as Katrina undoubtedly ruined homes and lives with its destructive path. Chris Rose touches upon these instances of brokenness to elicit sympathy from his audience. Throughout the novel, mental illness rears its ugly head. Tales such as “Despair” reveal heart-wrenching stories emerging from a cycle of loss. This particular article is concerned with the pull of New Orleans, its whisper in your ear when you’ve departed that drags you home. Not home as a house, because everything physical associated with home has been swept away by the storm and is now gone. Rather, it is concerned with home as a feeling, that concept that there is none other than New Orleans. Even when there is nothing reminiscent of what you once knew, a true New Orleanian will seek a fresh start atop the foundation of rubbish. This is a foreign concept for those not native to New Orleans, and a New Orleanian girl married to a man from Atlanta found her relationship split as a result of flooding waters. She was adamant about staying, and he returned to where he was from. When he came back to New Orleans for her to try and make it work, they shared grim feelings and alcohol, the result of which was the emergence of a pact reminiscent of Romeo and Juliet. This couple decided they would kill themselves because they could see no light amongst the garbage and rot, and failure was draining them of any sense of optimism. She realized the fault in this agreement,
The transition of being a black man in a time just after slavery was a hard one. A black man had to prove himself at the same time had to come to terms with the fact that he would never amount to much in a white dominated country. Some young black men did actually make it but it was a long and bitter road. Most young men fell into the same trappings as the narrator’s brother. Times were hard and most young boys growing up in Harlem were swept off their feet by the onslaught of change. For American blacks in the middle of the twentieth century, racism is another of the dark forces of destruction and meaninglessness which must be endured. Beauty, joy, triumph, security, suffering, and sorrow are all creations of community, especially of family and family-like groups. They are temporary havens from the world''s trouble, and they are also the meanings of human life.
On August 29th, 2005, Hurricane Katrina, the most expensive hurricane in American history, made landfall in Louisiana with winds of one hundred and twenty-seven miles per hour (“Hurricane Katrina Statistics Fast Facts”). The sheer magnitude of the amount of lives and property lost was enormous, and it was triggered simply by warm ocean waters near the Bahamas ("How Hurricane Katrina Formed"). Nature was indifferent to whether the raging winds and rain would die off in the ocean or wipe out cities; it only follows the rules of physics. A multitude of American authors has attempted to give accounts and interpretations of their encounters with the disinterested machine that is nature. Two authors, Stephen Crane and Henry David Thoreau, had rather contrasting and conflicting interpretations of their own interactions with nature. Crane’s work, “The Open Boat,” is story based on his experience as a survivor
“The history of the American Negro is the history of this strife, – this longing to attain self-consciousness, manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message f...
According to Hurricane Katrina At Issue Disasters, economic damages from Hurricane Katrina have been estimated at more than $200 billion… More than a million people were displaced by the storm… An estimated 120,000 homes were abandoned and will probably be destroyed in Louisiana alone (At * Issue). For this perspective, “Hurricane Katrina change the Gulf Coast landscape and face of its culture when it hit in 2005” (Rushton). A disaster like Katrina is something the victims are always going to remember, for the ones the lost everything including their love ones. Katrina became a nightmare for all the people that were surround in the contaminated waters in the city of New Orleans. People were waiting to be rescue for days,
Media Coverage on Hurricane Katrina News of the devastating hurricane Katrina and its economic, political, social, and humanitarian consequences dominated global headlines in an unprecedented manner when this natural catastrophe struck the region of New Orleans in mid August 2005 (Katrinacoverage.com). As a tradition, large-scale disasters like Katrina, inevitably, bring out a combination of the best and the worst news media instincts. As such, during the height of Hurricane Katrina’s rage, many journalists for once seized their gag reflex and refused to swallow shallow and misleading excuses and explanations from public officials. Nevertheless, the media’s eagerness to report thinly substantiated rumors may have played a key role in bringing about cultural wreckage that may take the American society years to clean up. To begin with, anybody privy to the events in New Orleans that ensued after Hurricane Katrina struck knows that horrible things that had nothing to do with natural causes happened: there were murders, gunfire directed at a rescue helicopter, assaults and, courtesy of New Orleans’ city police department, a myriad other crimes that most probably went unreported (Katrinacoverage.com).
Hurricane Katrina was one of the most devastating natural disasters to happen in the United States. The storm resulted in more then US$100 billion in damage when the cities flood protection broke and 80% of the city was flooded (1). The protection failure was not the only cause for the massive flooding, the hurricanes clockwise rotation pulled water from north of New Orleans into the city. 330,000 homes were destroyed and 400,000 people from New Orleans were displaced, along with 13,00 killed (1). Although the population quickly recovered, the rate of recovery slowed down as the years went on leading us to believe not everyone
The American Narrative includes a number of incidents throughout American history, which have shaped the nation into what it is today. One of the significant issues that emerged was slavery, and the consequent emancipation of the slaves, which brought much confusion regarding the identification of these new citizens and whether they fit into the American Narrative as it stood. In The Souls of Black Folk, W.E.B Dubois introduces the concept of double consciousness as “the sense of always looking at one’s self through the eyes of others” (Dubois 3). This later became the standard for describing the African-American narrative because of the racial identification spectrum it formed. The question of double consciousness is whether African-Americans can identify themselves as American, or whether the African designation separates them from the rest of society. President Barack Obama and Booker T. Washington, who both emerged as prominent figures representing great social change and progress for the African-American race in America, further illustrate the struggle for an identity.
Stories are often left untold or forgotten. The stories that are deemed profound or are remembered are of fact or evident to the masses. The stories that make up history, such as the African Americans’ fight for equality, are made up of concrete events that were witnessed. On the contrary, stories like the narrator’s in Ralph Ellison’s Invisible Man are generally overlooked because they are focused on an individual’s experience. This is due to the theory that humanity is naturally self-involved, but also ashamed because the majority of our experiences consist of challenges. The narrator’s story was filled with past humiliations that were the major cornerstones to his identity. He illustrated the significance of embracing our humiliations, or
Fink, Sheri. "Hurricane Katrina: after the flood." The Gaurdian. N.p., 7 Feb. 2014. Web. 17 Apr. 2014.
The main character is completely alienated from the world around him. He is a black man living in a white world, a man who was born in the South but is now living in the North, and his only form of companionship is his dying wife, Laura, whom he is desperate to save. He is unable to work since he has no birth certificate—no official identity. Without a job he is unable to make his mark in the world, and if his wife dies, not only would he lose his lover but also any evidence that he ever existed. As the story progresses he loses his own awareness of his identity—“somehow he had forgotten his own name.” The author emphasizes the main character’s mistreatment in life by white society during a vivid recollection of an event in his childhood when he was chased by a train filled with “white people laughing as he ran screaming,” a hallucination which was triggered by his exploration of the “old scars” on his body. This connection between alienation and oppression highlight Ellison’s central idea.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.