A Quote by Lucas Mann
Walter Benjamin talks about art losing its original "aura" in an age of mechanical reproduction. In writing memoir, we're taking something that happened in a particular moment and meant something at that time, and we're trying to capture it to mass reproduce it for readers. So of course something is lost. And when we edit that material, we're getting even further from that aura, but toward something else that is potentially vital.
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Whereas if you were writing an op-ed piece or an essay, somebody would be asking, "What's your point?" With poetry you can stay in a moment for as long as you want. Poetry is about metaphor, about a thing standing in for something else. It's the thing that opens out to something else. What that something else is changes for readers. So what's on the page - it falls away.
Writing is the basis of all, because creating something that didn't even exist before is like taking an empty canvass. It is a wonderful thing to make something out of nothing. You've got an empty page, you've got an idea, and then you start typing and that is the most thrilling thing of all. And then if it becomes a movie or something else that's a plus, but the original writing of it is what's very exciting.
Something I tried to hold onto, to touch if only for a moment, but it slipped away from me like the air, like an illusion, or a dream that floats away and is lost. I wept in my sleep as though it was something I was losing now; a loss I was experiencing for the first time, and not something I had lost a long time ago.
When I fought Kampmann, something happened in that fight and to me, it's still the most epic moment in my career. I was losing and something happened and I flipped a switch.
He misses the feeling of creating something out of something. That’s right — something out of something. Because something out of nothing is when you make something up out of thin air, in which case it has no value. Anybody can do that. But something out of something means it was really there the whole time, inside you, and you discover it as part of something new, that’s never happened before.
We talk to our guys all the time about the difference between interest and commitment. When you're interested in something, you do it when it's convenient. When you're committed to something, you do it all the time, even when you lost that feeling that you originally had when you you made the original commitment.
If you love something, set it free. If it was meant to be, it will come back to you. But this, of course, was bullshit. If you loved something and let it go...it would (hello!) find something else to love.
If you hand an adult a lump of clay, they're likely to respond by fashioning something representative out of the raw material. For the most part, they'll simply forge an object that signifies something "real" in the world, even if that something is as abstract as an emotion or an energy. A child, on the other hand, will just as often produce something totally without semiotic meaning, a shape or a mass that represents nothing that exists outside of their imagination. Or else, they'll eat it or throw it or ignore it, wholesale.
Somewhere in our search for reality we have passed something by, something important that we no longer find amid the bits and pieces of disassembled matter-something vital that we cannot build out of these parts. There is surely something else, some piece of divinity in us, something that was before the elements, and that owes no homage to the sun.
I never meant to write about the experience of losing a good friend to breast cancer when I was going through it. But after it was over, I realized that although something deeply sad had happened, something truly beautiful also had.
What I think is important about essayists, about the essay as opposed to a lot of personal writing is that the material has to be presented in a processed way. I'm just not interested in writing, "Hey, this is what happened to me today." You get to a place that has very little to do with your personal experience and talks about some larger idea or something in the culture. I don't think you can get to that unless you have had a lot of time to gestate and maybe if I was taking a lot of notes while stuff was going on, I wouldn't be able to get to that place as easily.
When you're trying to add something to your game, you always lose something else, and that something else is something so important.
For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated - a woman writing about her feelings in a confessional way - that's taking it and turning it and twisting it into something that is frankly a little sexist.
I don't deliberately look for something dark or bleak or disconnected, in fact that's not something I'm even conscious of in the work as I'm making it. I'm always trying to create beauty, reveal hope, show the sense of longing that exists in isolation and loneliness, and capture the search for something greater inside all of my subjects.
Sometimes people will request a song I haven't played in a while and I'll play it and singing the lyrics will mean something different to me as a 35 year-old person than they did when I was 25. I know I'm still that person who wrote it and thought I knew what I meant when I was writing them. They meant something very exact to me in that time of my life. But it's really cool when those same lyrics can transform into something else and mean something entirely different to me.
A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.
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