A Quote by Jorie Graham
It's very hard to look in a mirror and see anything which resembles what one feels one's self to be. I think that discomfort, that dislocation, disintegration - that raw lack of feeling whole - that dysmorphia - is a very good place, in this moment, to hunt for the kind of experience which really requires the means of poetry to be grasped or felt.
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I think there's kind of a wave of nostalgia going on right at the moment. You know, people recall an earlier time, which they see as a better time. And I think we just kind of evoke good thoughts when they look at us. That's the feeling I get.
Poetry is the essence of everything, and it’s through deep contact with reality and living fully that you reach poetry. Very often I see photographers cultivating the strangeness or awkwardness of a scene, thinking it is poetry. No. Poetry is two elements which are suddenly conflict — a spark between two elements. But it’s given very seldom, and you can’t look for it. It’s like if you look for inspiration. No, it just comes by enriching yourself and living.
I think a lot of us have some form of body dysmorphia... You're looking in the mirror, and you're kind of disassociated in some way. I think a good reminder is to actually, physically touch yourself. 'Ah, okay, this is what my arm feels like. It's not what I'm mutating in my head. I'm not some sort of scary monster.'
Yeah, there are a couple of wrestling shows out there with very, very good production values in RAW and SmackDown, but I think we're going to offer something completely different from what they offer, a very, very different kind of product that visually is going to look as good or better in a lot of ways.
It's kind of like when you look at yourself in the mirror and you say your name. And it gets to a point where none of it seems real. Well, sometimes I can do that, but I don't need an hour in front of a mirror. It just happens very fast, and things start to slip away. And I just open my eyes, and I see nothing. And then I start to breathe really hard trying to see something, but I can't. It doesn't happen all the time, but when it does, it scares me.
Poetry is related to philosophy as experience is related to empirical science. Experience makes us acquainted with the phenomenon in the particular and by means of examples, science embraces the whole of phenomena by means of general conceptions. So poetry seeks to make us acquainted with the Platonic Ideas through the particular and by means of examples. Philosophy aims at teaching, as a whole and in general, the inner nature of things which expresses itself in these. One sees even here that poetry bears more the character of youth, philosophy that of old age.
I think that in poetry personal experience is very important, but certainly it shouldn't be a kind of shut-box and mirror looking, narcissistic experience. I believe it should be relevant, and relevant to the larger things, the bigger things such as Hiroshima and Dachau and so on.
Music is what is going to save me," "On the bad days, when I have to look at the cold, hard facts of life, I see that this is not the music business I came up in and I have to be very, very objective and detached and say, 'what's good about it and what's bad about it?' Mostly, I'm finding it good that it's not the same old music business, because the music business I came up in really didn't advance anything I was doing, and I don't think it was particularly kind to a lot of artists.
I think what we're attracted to on the page is something that is very difficult to do in life, which is to examine in what seems like a moment. To examine what we can't do in life very well, which is to be as present and accountable to what an experience is. That's why life is short and art is very long.
That's why I always question this sense. The feeling of home really requires a lot of trust. It requires you to identify with it, which I always find myself very contradictory to.
I think a good quarterback or a good linebacker, a good safety, even though you have a lot of bodies moving out there, it slows down for them and they can really see it. Then there are other guys that it's a lot of guys moving and they don't see anything. It's like being at a busy intersection, just cars going everywhere. The guys that can really sort it out, they see the game at a slower pace and can really sort out and decipher all that movement, which is hard. But experience certainly helps that, yes.
I was a child of the '60s basically, which is a real blank. I really started growing up, I think, in the '70s. I'm a glam-rock kid. But Dublin, Ireland in those days was a very dark place, as in it was a very poor, almost third world. Economically, the whole world is going through a recession at the moment. In the '60s, '70s, and the '80s in Ireland was a real recession. It wasn't a pleasant place.
I developed slight body dysmorphia - when I would break out, I couldn't look at myself in the mirror for a couple of months at a time. I remember doing my makeup before school in the dark, which is an awful idea, but it's because I didn't want to see myself in that bright light.
Political and social justice requires, not the disintegration of a country and destruction or humiliation of a class which shows initiative, intelligence and drive, but equality of opportunity for all, genuine freedom for self-fulfilment, in which all men irrespective of caste or creed may share.
It’s never going to be very mainstream. One reason is that poetry requires concentration, both on the part of the writer and the reader. But it’s kind of unkillable, poetry. It’s our most ancient artform and I think it’s more relevant today than ever, because it’s one person saying what they really believe.
I don't paint, and I can't draw, but I see things, I think, quite well, and I love being able to freeze things with the camera, particularly the children. Then I discovered with the camera that you can tell a whole story with just freezing a moment in reality. I find it a very good way, a very satisfying feeling.
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