Natasha Trethewey Quotes

• I think there is a poem out there for everyone, to be an entrance into the poetry and a relationship with it.

  Natasha Trethewey

  Thinking, Entrances

  "U.S. Poet Laureate Natasha Trethewey Talks About Her New Job and Fourth Book". "PBS NewsHour" with Jeffrey Brown, www.pbs.org. September 21, 2012.

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• The act of making poetry is an act of hope.

  Natasha Trethewey

  Poetry, Poetry Is

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• The experience of poetry could bring my mother back to me. Poetry offers a different kind of solace - here on earth.

  Natasha Trethewey

  Mother, Different, Earth

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• My own journey in becoming a poet began with memory - with the need to record and hold on to what was being lost. One of my earliest poems, Give and Take, was about my Aunt Sugar, how I was losing her to her memory loss.

  Natasha Trethewey

  Memories, Loss, Aunt

  "PBS Newshour’s Poetry Series: Where Poetry Lives" by Jonterri Gadson, therumpus.net. September 13, 2013.

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• A man's pursuit of knowledge is greater than his shortcomings, the limits of his vision.

  Natasha Trethewey

  Men, Vision, Limits

  Natasha Trethewey (2012). “Thrall: Poems”, p.69, Houghton Mifflin Harcourt

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• What is love?/ One name for it is knowledge.

  Natasha Trethewey

  Names, What Is Love

  Natasha Trethewey (2012). “Thrall: Poems”, p.9, Houghton Mifflin Harcourt

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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.

  Natasha Trethewey

  Memories, Blood, People

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• You can get there from here, though there's no going home. Everywhere you go will be somewhere you've never been. "Theories of Time and Space

  Natasha Trethewey

  Home, Space, Theory

  Natasha Trethewey (2007). “Native Guard”, p.3, Houghton Mifflin Harcourt

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• First, I emptied the closets of your clothes, threw out the bowl of fruit, bruised from your touch, left empty the jars you bought for preserves. The next morning, birds rustled the fruit trees, and later when I twisted a ripe fig loose from its stem, I found it half eaten, the other side already rotting, or-like another I plucked and split open-being taken from the inside: a swarm of insects hollowing it. I'm too late, again, another space emptied by loss. Tomorrow, the bowl I have yet to fill.

  Natasha Trethewey

  Morning, Taken, Loss

  Natasha Trethewey (2007). “Native Guard”, p.13, Houghton Mifflin Harcourt

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• What's left is palimpsest—one memory bleeding into another, overwriting it.

  Natasha Trethewey

  Memories, Bleeding, Palimpsest

  Natasha Trethewey (2012). “Thrall: Poems”, p.66, Houghton Mifflin Harcourt

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• When I was born here in Gulfport in 1966, my parents' interracial marriage was still illegal. And it was very hard to drive around town with my parents, to be out in public with my parents.

  Natasha Trethewey

  Parent, Towns, Born

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• I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.

  Natasha Trethewey

  Editing, Editors, Want

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• Jesmyn Ward left her Gulf Coast home for education and experience, but it called her back. It called on her in most painful ways, to mourn. In Men We Reaped, Jesmyn unburies her dead, that they may live again. And through this emotional excavation, she forces us to see the problems of place and race that led these men to their early graves. Full of beauty, love, and dignity, Men We Reaped is a haunting and essential read.

  Natasha Trethewey

  Home, Men, Emotional

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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.

  Natasha Trethewey

  Teacher, School, Atlanta

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• I was deeply moved by Richard Blanco's reading of his inaugural poem-a timely and elegant tribute to the great diversity of American experience. And now comes this fine meditation on his experience of coming to poetry, of making the poem and the months surrounding its making-a testament to the strength and significance of poetry in American culture, something not always seen or easily measured. Today Is For All of Us, One Today is a necessary intervention into the ongoing conversation about the role of poetry in public life.

  Natasha Trethewey

  Reading, Diversity, Meditation

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• There are indeed all sorts of men/ who visit here: those who want/ nothing but to talk or hear the soft tones/ of a woman's voice; others prefer/ simply to gaze upon me, my face/ turned from them as they touch/ only themselves. And then there are those,/ of course, whose desires I cannot commit/ to paper.

  Natasha Trethewey

  Men, Voice, Desire

  Natasha Trethewey (2002). “Bellocq's Ophelia: Poems”, Graywolf Press

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• I used to come out here every Fourth of July as a child to picnic and to swim on the island, to tour the fort and wander through it. And all of that time, I never knew anything about the presence of black soldiers on the island. And so, for me, this was a way of trying to tell another history, a lost or a forgotten or a little-known history about these black soldiers who played an important part in American history.” Trethewey said.
  Coincidentally, she was born “exactly 100 years to the day that Mississippi celebrated the first Confederate Memorial Day, April 26, 1866.

  Natasha Trethewey

  Memorial Day, Children, Islands

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