At first blush Treme would seem to be quite similar to The Wire: a synoptic portrait of a poor, old, troubled, black-majority American city, expressed through the intertwined unfolding stories of a group of characters. But there are several important differences—the most obvious of which is that The Wire presents Baltimore as the object of slow-motion devastation, in the form of a couple of generations’ worth of changes in urban economics, race relations, governance, and geography, whereas Treme presents New Orleans as having been devastated much more dramatically and rapidly, by Hurricane Katrina.
This article is available to subscribers only.
Please choose from one of the options below to access this article:
Purchase a print subscription (20 issues per year) and also receive online access to all articles published within the last five years.
Purchase an Online Edition subscription and receive full access to all articles published by the Review since 1963.