Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
Natasha TretheweyRead
Often as a poet I find that I am somewhat outside an experience I want to hold onto, consciously taking mental notes or writing them down in my journal - for fear that I will forget. It's not unlike being on a trip and taking pictures, your face behind a camera the whole time - the entire experience mediated by a lens.
Interpretation
The quote reflects the poet's struggle to fully immerse in experiences while simultaneously documenting them.
Natasha Trethewey expresses the tension between experiencing life and capturing it through writing. She likens her poetic process to being a tourist, where the act of documenting—whether through notes or photographs—can sometimes hinder one's ability to fully engage with the moment. This highlights the complexities of creativity and memory, revealing how art can serve both as a means of preservation and a barrier to genuine experience.
In practice
In a poetry reading, one might use this quote to illustrate the challenges of capturing emotions.
Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
I've been telling my students, 'Imitate, imitate.' And they say, 'Well, what if I plagiarize, or what if I'm not original? I want to be myself.' And I always tell them, 'Your self will shine through'... If you allow yourself to feel deeply and honestly, what you say won't be like anyone else.
I think that it's hard enough being an adolescent and wanting so much to fit in with your peers, your schoolmates, and to erase any sign of difference, to be part of the group. And being biracial but also being black in a predominately white school marked me as different.
'Memory.' 'Race.' 'Murder.' That's what they say about me. I am an elegiac poet. I have some historical questions, and I'm grappling with ways to make sense of history; why it still haunts us in our most intimate relationships with each other, but also in our political decisions.
For a long time, I've been interested in cultural memory and historical erasure.
People always want to be on the right side of history; it is a lot easier to say, 'What an atrocity that was' then it is to say, 'What an atrocity this is.'
If each photograph steals a bit of the soul, isn't it possible that I give up pieces of mine every time I take a picture?
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
...few young poets [are] testing their poems against the ear. They're writing for the page, and the page, let me tell you, is a cold bed.
Art is the concrete representation of our most subtle feelings.
When I was a bad writer, I would consciously imitate other NPR writers who I thought were wonderful. I suppose that everyone's artistic practice is different. But I collaborate and sometimes don't agree at all with my collaborators' opinions. It forces you to understand why you don't agree with something: what's the fight you're picking.
Because subjects like literature and art history have no obvious material pay-off, they tend to attract those who look askance at capitalist notions of utility. The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.
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