Throughout her work, contemporary African-American poet Thylias Moss performs feats of poetic reimagining that challenge the assumed connection of collective memory and group history to racial identity—a connection that has recently received rigorous critique, particularly in Holocaust and trauma studies. Proposing what I call Moss's "African-Americanization" of the Holocaust, and by contextualizing Moss's work in the early 1990s phase of the "Americanization" of the Holocaust and drawing on Marianne Hirsch's concept of postmemory, this article focuses on Moss's Holocaust poems in order to grapple with her poetry's disjunctive themes and collective histories. Exploding the logic of competitive victimhood, Moss's poems show how African-American experience does not compete with but rather works as a mnemonic device for other traumatic histories and other genocides. Her unusual upbringing leads Moss to multiply connections across traumatic histories, collective memories, and African-American identity in her Holocaust poems, even playfully so through her grotesque and darkly comic figuration of events. Moss's poems extend the reach of collective memory and racial identity, multiplying their possible relations against the backdrop of the Americanization of the Holocaust.

在整个作品中，当代非洲裔美国人诗人蒂莉亚斯·莫斯（Thylias Moss）进行诗意化的壮举，挑战了集体记忆和群体历史与种族认同的假定联系，这一联系最近受到了严格的批评，尤其是在大屠杀和创伤研究中。提出我所谓的摩斯大屠杀的“非裔美国人化”，并通过将摩斯在大屠杀“美国化”初期的1990年代的工作情境化，并借鉴玛丽安·赫希的后记忆概念，来按顺序关注摩斯的大屠杀诗歌努力解决她诗歌的脱节主题和集体历史。摩斯（Moss）探索竞争受害者的逻辑 的诗歌表明，非裔美国人的经验是如何与其他创伤史和其他种族灭绝事件抗衡的，而只是作为一种助记符。她的非同寻常的成长经历使莫斯在大屠杀诗中倍增创伤经历，集体记忆和非裔美国人身份之间的联系，甚至通过她怪诞而阴暗的喜剧人物形象也起到了调皮的作用。莫斯的诗歌扩大了集体记忆和种族认同的范围，在大屠杀美国化的背景下扩大了它们可能的关系。甚至通过她怪诞而又黑暗的喜剧人物形象也表现得那么好玩。莫斯的诗歌扩大了集体记忆和种族认同的范围，在大屠杀美国化的背景下扩大了它们可能的关系。甚至通过她怪诞而又黑暗的喜剧人物形象也表现得那么好玩。莫斯的诗歌扩大了集体记忆和种族认同的范围，在大屠杀美国化的背景下扩大了它们可能的关系。