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.'
Beauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet it is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend. If there are people who are indifferent to beauty, then it is surely because they do not perceive it.
I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand - I use those words interchangeably - another appetite has formed. A lot of people try to think up ideas. I'm not one. I'd rather accept the irresistible possibilities of what I can't ignore.
There is not a special imposition on writers to be activists. All that does is encourage writers to write propaganda. Propaganda can be written by anybody, including dictators.
I want my buildings to take root and look as if they've always been there. It isn't about pastiche or adapting what's already there. It's about trying to blend the future and the past.
I don't design clothes, I design dreams.
With this mistake I deprived myself of the possibility to make a contribution to the treasury of chess art.
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