natasha trethewey interview

Posted on October 8th, 2020


Natasha Trethewey: I think the biggest challenge that I faced … 9780062248572 I have learned more about grief this year, and this book was something that gave voice and clarity to what my family has been feeling. If that means putting these monuments in graveyards or museums, where we tell a fuller version of the story, then that's what we need to do. The following questions came from the audience at the Writer’s Block in Las Vegas and have been edited for clarity. Lots of things wound us into poetry, and certainly my Mississippi was one part of that. • WHATEVER. I’ve had these discussions with him my whole life. There are numerous poems based on paintings in Thrall and throughout your work you have poems about photographs, which, to me, emblematizes modern history — the advent of technology — as well as personal history — the snapshot. And how they dig their heels in about “heritage, not hate.” How it's somehow a belief that it’s our history, when the history they inscribed is already a fiction. It's our shared history as Americans, and one we ought to be really proud of. The whole thing is about carrying on in the aftermath, for me. If you always know what’s going to happen, there’s no surprise, to paraphrase Frost. She was a 19-year-old college student at the University of Georgia when her mother died a tragic, untimely death. I wanted simply to forget and be made of only what I chose consciously to remember, but of course that’s not how it works.
Until then, though her father is a poet, poetry had … “One does not bury the mother’s body in the ground, but in the chest. You close the poem with the words “you carry her corpse on your back.” That tactile burden speaks to the impossibility of containing grief and also the responsibility of holding onto the past. That’s the difficult knowledge: to recognize the great love from the father (and for the father), but also to acknowledge the complicated ways in which racial thinking is constructed into us without our conscious knowing. I can remember when my first book came out, Domestic Work. [Audience laughter] Where do writers who want to speak about those things go and have the space where we’re nurtured as opposed to sidelined? But it is also a way for me to put myself in a place where history lives. I think he’s had a long time to change the word, to find a better word, but he says he was trying to point out a cultural moment, the way people would refer to a mixed-race child [at that time]. Sign up for our newsletters! “I’m someone who likes documentary evidence,” she says from her home outside Chicago. verb (Google): to inflict an injury on (someone). And I didn’t want to put that name, her killer’s name, on the stone. There was a historical novelist, a poet, a museum curator, a documentary filmmaker, a journalist, and an academic historian. THE BELIEVER: So we have this lovely, beautiful new book entitled Monument, and a lot of your work circles around historical memory. But there are lovely kinds of captivation, too — being enthralled by beauty. But in doing that, I discovered that my real argument was with not properly remembering or memorializing my own mother. Because a poem can create a sort of opening in time, it feels like there are moments of resurrection that I can live fully inside of, like a memory of my mother that brings her back. Allegory’s power to constellate narrative meaning beyond the story being told becomes, through the seemingly straightforward work of observing a piece of art, in Trethewey’s hands, an exchange between writer and reader, between the narratives on the page and in one’s life.
But the poem that came out was a memory of the day we buried my mother. [Audience laughter], BLVR: Where can I apply? You’ll have that armor too. And then I’d go to sleep—or I’d try. NT: You go to Phil Levine. Every product was carefully curated by an Esquire editor. It felt reductive to me. Her words settle with profound gravity, yet her laughter is quick and comfortable. When I started writing that book and that poem, I was angry with my father.

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