By Therese Steffen

Rita Dove (b. 1952) used to be elected Poet Laureate--the first ever African-American to carry the position--in 1993, in popularity of labor that mixes racially delicate commentary with searing and fast own event. She is healthier identified for her big physique of poetry, even though she has additionally been well-known for her many accomplishments in drama and fiction, written in either German and English. Crossing Color, written via a widely known Americanist within the ecu neighborhood, is the 1st full-length severe examine providing a finished biographic and literary portrait of Rita Dove and her paintings.

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Extra resources for Crossing Color: Transcultural Space and Place in Rita Dove's Poetry, Fiction, and Drama

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Myers, 1962)" features a much more confident voice that decides what to believe and what not to believe. Part I, "largely a 'remembrance' of the 'buckeye state'" (Baker 1990: 575), sets out with peaceful intimate moments of growing up and into a family and town("Silos," "OuakerOats," "Fifth Grade Autobiography," "Flash Cards"). "18 The avowal of guilt (over a friend's death in "Mississippi") and of mortality ("Your Death," "The Wake") introduces the aftermath of the forbidden Rita Dove's Macro-Poetics of Space.

Bachelard 147; PW: 18, 45f) Dove's mapping of interior and exterior space calls for an extension of Bachelard's primordial categories of "1: The House. From Cellar to Garret. " Her own inventory of inhabitable space in PW takes up the significance of the dynamics of inside v. outside (PW 19) and comprises back-, front-, and sideyards (PW 19-23); back doors and screen door (PW 24); front-doors (PW 25); space atmospherically changed by bad news, fear, and death (PW 25-26); or the state of being in two places at once and not there at all (PW 24).

Chronologically, Grace Notes follows FS but precedes IG. GN, whose ornaments heighten the basic melody of life, is linked to TB and M not only as their thematic expansion—more intimate ("Pastoral"), more cosmic ("Ozone"), and lighter—but also through Beulah's presence. "Summit Beach, 1921," the prologue, resurrects her unnamed as her Papa's golden girl. The year 1921, we know from TB's chronology, was the year of Thomas's arrival in Akron. Beulah, who "could wait, she was gold" for the right man while others danced on the Negro beach, is retrospectively shown as a young woman.

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Crossing Color: Transcultural Space and Place in Rita Dove's by Therese Steffen
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