Natasha Trethewey Quotes
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Dismissals of poetry are nothing new. It's easy to dismiss poetry if one has not read much of it.
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Even though I am the daughter of a poet, and my stepmother is also a poet, growing up, I didn't think I could understand poetry; I didn't think that it had any relevance to my life, the feelings that I endured on a day-to-day basis, until I was introduced to the right poem.
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I think poetry's always a kind of faith. It is the kind that I have.
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My name is Natasha Trethewey, and I was born in Gulfport, Mississippi, in 1966, exactly 100 years to the day that Mississippi celebrated the first Confederate Memorial Day, April 26, 1866.
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I think people turn to poetry more often than they think they do, or encounter it in more ways than they think that they do. I think we forget the places that we encounter it, say, in songs or in other little bits and pieces of things that we may have remembered from childhood.
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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.
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It took me years of attempts and failed drafts before I finally wrote the elegies I needed to write.
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I think the biggest thing that I have to do is to remind people that poetry is there for us to turn to not only to remind us that we're not alone - for example, if we are grieving the loss of someone - but also to help us celebrate our joys. That's why so many people I know who've gotten married will have a poem read at the wedding.
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Often people would mistake me for white when I was younger, and I didn't correct them; there would be a period of time that they just thought I was.
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I love mystery novels... I love seeing the dramas played out in academic departments, particularly English departments. I started reading these when I was going up for tenure.
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In the early 1970s in Atlanta, I attended what had formerly been an all-white school but had become a black school after integration and white flight. Perhaps because of this, the teachers created a curriculum that included a focus on African American literature and history year-round, not just in February.
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My obsessions stay the same - historical memory and historical erasure. I am particularly interested in the Americas and how a history that is rooted in colonialism, the language and iconography of empire, disenfranchisement, the enslavement of peoples, and the way that people were sectioned off because of blood.
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It's so necessary to try and record the cultural memory of people. To set it down for generations to come. To better understand where we are headed. The problem is, a good portion of what we choose to remember is about willed forgetting. Which we all do, I believe, to protect ourselves from what is too difficult.
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Often it seems that there are writers who are their best selves on the page. That Seamus Heaney was as genuine and deeply admirable in person as in his poems was to me a gift, then as now.
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When kids look at broccoli, they call it 'little trees,' because they see it not just for the word 'broccoli.' They see it for what it looks like, the image. We, as adults, forget to think like that. We forget to think figuratively and have to be reminded.
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For a long time, I've been interested in cultural memory and historical erasure.
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I started out in graduate school to be a fiction writer. I thought I wanted to write short stories. I started writing poems at that point only because a friend of mine dared me to write a poem. And I took the dare because I was convinced that I couldn't write a good poem... And then it actually wasn't so bad.
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I find myself frequently introducing myself to someone, saying that, you know, I've grown up black and biracial in the United States.
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The more I've gotten interested in writing about history and making sense of myself within the continuum of history, the more I've turned to paintings, to art. I look to the imagery of art to help me understand something about my own place in the world.
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My mother was murdered by my step-father, my brother's father, who was also named Joel, twenty-five years ago. Whatever sadness or burden I've been living with since then, my brother's also been living with, but he's lived with the added burden of having the exact same name as our mother's murderer.
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My parents had to go to Ohio to get married in 1965 because it was still illegal in Mississippi. My white father and black mother.
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The entirety of 'Bellocq's Ophelia' was a project, and I was interested in doing research and looking at photographs and writing about them, imagining this woman Ophelia and what her life was like and the kinds of things she thought about.
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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.
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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.