A Quote by Jacqueline Woodson

Memory doesn't come as a straight narrative. It comes in small moments with all this white space. — © Jacqueline Woodson
Memory doesn't come as a straight narrative. It comes in small moments with all this white space.
For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'
Emmitt Till had walked into a cultural narrative in which his role was already tragically written. It was a narrative designed to preserve white supremacy. So it gave power - the right to kill - to any white claiming to defend the honor of white women.
Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.
The space that I can call mine.. is so small that my ideas have become small. I am like a caterpillar in a cocoon of paper; all around me are sketches for sculptures, small drawings that seem like moths fluttering against the windows, beating their wings to escape from this tiny space.. Every day the ideas come more reluctantly, as though they know I will starve them and stunt their growth.
We think that it's the big moments that define our lives-the wedding, the baby, the new house, the dream job. But really, these big moments of happiness are just the punctuation marks of our personal sagas. The narrative is written every day in the small, the simple, and the common. In your tiny choices, in these tiny changes. In the unconsidered. The overlooked. The discarded. The reclaimed.
History and memory share events; that is, they share time and space. Every moment is two moments.
Even as I think of myself as a 'rememberer,' I also know my memory is probably doing all this work to reconstruct a narrative where I come off better.
In terms of what I write about, I consider no subject too small. Often it's the small moments, that through the amplification of poetry, reveal the larger, more profound truths that we all come to recognize and treasure.
The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up moments, and the rest is dark.
Now, we're used to thinking of communism as being once-upon-a-time-all-things-were-owned-in-common, maybe-someday-this-will-come-again. And people agree that there is a sort of epic narrative going on here. I think we should just throw this narrative out, it's irrelevant anyway, and who cares who owns things? I don't. You know, we all own the White House. So what? I still can't go in, right?
The moments of beauty, the moments when you feel blessed, are only moments; but memory and imagination, treasuring them, can string them together... Everything else passes away; that which you love remains.
I have never liked the memoir form because I tend to think that memory fictionalizes anyway. Once you claim that you are writing a narrative purely from memory, you are already in the realm of fiction.
When I set a glass prism on a windowsill and allow the sun to flood through it, a spectrum of colors dances on the floor. What we call "white" is a rainbow of colored rays packed into a small space. The prism sets them free. Love is the white light of emotion.
I'm trying to make perfect moments. And those generate meaning. If you go deep enough in how to make a moment, very quickly you come to how narrative works - to what we are as a species, how we've come up with telling stories in scenes and images.
I think people don't really actually talk about what their real issue is, which is that white, cis men - not straight men, but cis men - have had their hands on the narrative ever since filmmaking has begun.
When I talk about my artist parents, people imagine a bohemian environment and think, 'Aha, so that's where he gets it from!' But we were as white, straight, and middle-class as the next family on our white, straight, middle-class housing estate.
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