Memory Quotes - Page 33

And though, indeed, it only happened once, it’s gone on happening, the way unique and momentous things do, for ever and ever, as long as there’s a memory for them to happen in …

This landscape is animate: it moves, transposes, builds, proceeds, shifts, always going on, never coming back, and one can only retain it in vignettes, impressions caught in a flash, flipped through in succession, leaving a richness of images imprinted on a sunburned retina.

So much of the past in encapsulated in the odds and ends. Most of us discard more information about ourselves than we ever care to preserve. Our recollection of the past is not simply distorted by our faulty perception of events remembered but skewed by those forgotten. The memory is like twin orbiting stars, one visible, one dark, the trajectory of what's evident forever affected by the gravity of what's concealed.

Tarrou had "lost the match," as he put it. But what had he, Rieux, won? No more than the experience of having known plague and remembering it, of having known friendship and remembering it, of knowing affection and being destined one day to remember it. So all a man could win in the conflict between plague and life was knowledge and memories. But Tarrou, perhaps, would have called that winning the match.

A fleeting moment can become an eternity. From a past encounter everything may disappear in the dungeon of forgetfulness. A few furtive flashes or innocent twinkles can survive, though. Some immaterial details may remain marked in our memory, forever. A significant look, a salient colour or a unforeseen gesture may abide, indelibly engraved in our mind. ( "Girl in blue" )

It's late at night when the memory comes for me, like it always seems to when the relief of sleep seems ready to draw me under.

I can’t give up my faith in the longpaws. I understand that we can’t rely on the longpaws to help us anymore. But one of us has to remember. One of us has to carry the memories for the rest of the Pack. I’ll do it.

He was really quite addicted to her face, and yet for the longest time he could not remember it at all, it being so much brighter than sunlight on a pool of water that he could only recall that blinding brightness; then after awhile, since she refused to give him her photograph, he began to practice looking away for a moment when he was still with her, striving to uphold in his inner vision what he had just seen (her pale, serious, smooth and slender face, oh, her dark hair, her dark hair), so that after immense effort he began to retain something of her likeness although the likeness was necessarily softened by his fallibility into a grainy, washed-out photograph of some bygone court beauty, the hair a solid mass of black except for parallel streaks of sunlight as distinct as the tines of a comb, the hand-tinted costume sweetly faded, the eyes looking sadly, gently through him, the entire image cob-webbed by a sheet of semitranslucent Thai paper whose white fibers twisted in the lacquered space between her and him like gorgeous worms; in other words, she remained eternally elsewhere.

You bring fresh eyes, Matt. For us, something crazy may happen, and we all say 'Oh my' at the time, but the next week some new crazy thing happens that wipes the memory clean. And we go on to the next. La-di-da. I guess we just forgot about that other incident until now."- spoken by Sara, the missionary doctor, to Matt.(from The Sacrament of the Goddess, 2014)

Memory is imagined; it is not real. Don't be ashamed of its need to create; it is the loveliest part of your heart. Myth is the true history. Don't let them tell you that there are no monsters. Don't let them make you feel stupid, just because you are happy to play down in the dark with your flashlight. The mystical world depends on you and your tolerance for the absurd. Be strong, my darling ones, and believe!

Grief keeps coming back with the same things in its hands — you know this. You know that the hands of grief are memory. Again and again, grief holds the same few things.

Wait." Walter went to the basket, taking what was a gray sleeve, drawing it out fro the middle of the heap. "Oh," He said. He held the shapeless wool sweater to his chest. Joyce had knit for months the year Daniel died, and here was the result, her handiwork, the garment that would fit a giant. It was nothing more than twelve skeins of yarn and thousands of loops, but it had the power to bring back in a flash the green-tiled walls of the hospital, the sound of an ambulance trying to cut through city traffic in the distance, the breathing of the dying boy, his father staring at the ceiling, the full greasy bucket of fried chicken on he bed table. "I'll take this one," Walter said, balling up the sweater as best he could, stuffing it into a shopping bag that was half full of the books he was taking home, that he was borrowing."Oh, honey," Joyce said. "You don't want that old scrap.""You made it. I remember your making it." Keep it light, he said to himself, that's a boy. "There's a use for it. Don't you think so, Aunt Jeannie? No offense, Mom, but I could invade the Huns with it or strap the sleeves to my car tires in a blizzard, for traction, or protect our nation with it out in space, a shield against nuclear attack."Jeannie tittered in her usual way in spite of herself. "You always did have that sense of humor," she said as she went upstairs. When she was out of range, Joyce went to Walter's bag and retrieved the sweater. She laid it on the card table, the long arms hanging down, and she fingered the stitches. "Will you look at the mass of it," she exclaimed. "I don't even recall making it."""'Memory -- that strange deceiver,'" Walter quoted.

What better way to try to begin to understand the nature and meaning of human memory than to investigate its absence?

We all have an eraser incorporated within us, a delete key, but we forget how to use it. Ho’oponopono helps us to remember the power that we have to choose between erasing (letting go) or reacting, being happy or suffering. It is only a matter of choice in every moment of our lives.

The faculty of memory cannot be separated from the imagination. They go hand in hand. To one degree or another, we all invent our personal pasts. And for most of us those pasts are built from emotionally colored memories.

The mind forgets, but the heart will always remember. And what is the heart's memory but love itself?

How often since then has she wondered what might have happened if she'd tried to remain with him; if she’d returned Richard's kiss on the corner of Bleeker and McDougal, gone off somewhere (where?) with him, never bought the packet of incense or the alpaca coat with rose-shaped buttons. Couldn’t they have discovered something larger and stranger than what they've got. It is impossible not to imagine that other future, that rejected future, as taking place in Italy or France, among big sunny rooms and gardens; as being full of infidelities and great battles; as a vast and enduring romance laid over friendship so searing and profound it would accompany them to the grave and possibly even beyond. She could, she thinks, have entered another world. She could have had a life as potent and dangerous as literature itself.Or then again maybe not, Clarissa tells herself. That's who I was. This is who I am--a decent woman with a good apartment, with a stable and affectionate marriage, giving a party. Venture too far for love, she tells herself, and you renounce citizenship in the country you've made for yourself. You end up just sailing from port to port.Still, there is this sense of missed opportunity. Maybe there is nothing, ever, that can equal the recollection of having been young together. Maybe it's as simple as that. Richard was the person Clarissa loved at her most optimistic moment. Richard had stood beside her at the pond's edge at dusk, wearing cut-off jeans and rubber sandals. Richard had called her Mrs. Dalloway, and they had kissed. His mouth had opened to hers; (exciting and utterly familiar, she'd never forget it) had worked its way shyly inside until she met its own. They'd kissed and walked around the pond together.It had seemed like the beginning of happiness, and Clarissa is still sometimes shocked, more than thirty years later to realize that it was happiness; that the entire experience lay in a kiss and a walk. The anticipation of dinner and a book. The dinner is by now forgotten; Lessing has been long overshadowed by other writers. What lives undimmed in Clarissa's mind more than three decades later is a kiss at dusk on a patch of dead grass, and a walk around a pond as mosquitoes droned in the darkening air. There is still that singular perfection, and it's perfect in part because it seemed, at the time, so clearly to promise more. Now she knows: That was the moment, right then. There has been no other.

What the dead don't know piles up, though we don't notice it at first. They don't know how we're getting along without them, of course, dealing with the hours and days that now accrue so quickly, and, unless they divined this somehow in advance, they don't know that we don't want this inexorable onslaught of breakfasts and phone calls and going to the bank, all this stepping along, because we don't want anything extraneous to get in the way of what we feel about them or the ways we want to hold them in mind.

One who cannot leave himself behind on the threshold of the moment and forget the past, who cannot stand on a single point, like a goddess of victory, without fear or giddiness, will never know what happiness is; and, worse still, will never do anything that makes others happy.

Memory is like that. It alters itself so that girlsare always trapped under the earth, waiting in the dark.

Perhaps it was an afterimage, I decided, or a ghost: something that had stirred in my mind, for a moment, so powerfully that I believed it to be real, but now was gone, and faded into the past like a memory forgotten, or a shadow into the dusk.

Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme;But you shall shine more bright in these contents Than unswept stone, besmear'd with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war's quick fire shall burnThe living record of your memory. 'Gainst death and all-oblivious enmityShall you pace forth; your praise shall still find roomEven in the eyes of all posterity That wear this world out to the ending doom.So, till the judgment that yourself arise, You live in this, and dwell in lovers' eyes.

Shamans enter the dream world of sub-consciousness to wrestle with demons and rally angels. They return with tales of their encounters which become the myths and legends of their communities.

It is strange how we hold on to the pieces of the past while we wait for our futures.

The Place would already have started the leisurely, enjoyable process of digesting her into just one more piece of local gore-lore, half ghost story and half morality play, half urban myth and half just the way life goes. It would eat her memory whole, the same way its ground had eaten her body.

We seldom know what we're hearing when we hear something for the first time, but one thing is certain: we hear as we will never hear it again. We return to the moment to experience it, I suppose, but we can never really find it, only its memory, the faintest imprint of what it really was, what it meant.

I am beginning to believe that we know everything, that all history, including the history of each family, is part of us, such that, when we hear any secret revealed, a secret about a grandfather, or an uncle, or a secret about the battle of Dresden in 1945, our lives are made suddenly clearer to us, as the unnatural heaviness of unspoken truth is dispersed. For perhaps we are like stones; our own history and the history of the world embedded in us, we hold a sorrow deep within and cannot weep until that history is sung.

Bad days my memory functions no better than an out-of-focus kaleidoscope, but other days me recall is painfully perfect.

Three scents accompany my memories of this place: cut wood, poppy-seed bread, and the soft, crisp smell of snow.

The light of memory, or rather the light that memory lends to things, is the palest light of all. I am not quite sure whether I am dreaming or remembering, whether I have lived my life or dreamed it. Just as dreams do, memory makes me profoundly aware of the unreality, the evanescence of the world, a fleeting image in the moving water.

There are photographs of people you don't recognize and photographs of you in ways you don't wish to be remembered, but they each contain elements of places or times you do not wish to forget.

You always know more than you think you know without being aware of it. You always remember best what has hurt most.Memory is a reflex of the pain. Knowledge is the memory of the pain combined with the unconsciousness which we 'rationalize' via dreams or by means of reading literature. It is impossible to learn from someone else's experience unless we don't assume this experience as our own's, which we can achieve only by living it anew and from scratch. We can not live our lives at someone else's expense. Only life fraught with dangers and risks and lived as your own's deserves its name. Only selfish people do not live their lives as if they do not belong entirely to them. Cowardice equals a life that you refuse to live at its fullest and at its most dangerous.

Again his memory failed to conjure her face. It was like trying to call up a melody while another song played.

Ice is most welcome in a cold drink on a hot day.But in the heart of winter, you want a warm hot mug with your favorite soothing brew to keep the chill away.When you don’t have anything warm at hand, even a memory can be a small substitute.Remember a searing look of intimate eyes.Receive the inner fire.

I know what success means to me – it is when you look back at your life and the memories make you smile. That’s what success is to me

Some of your childhood traumas may be remembered with incredible clarity, while others are so frightening or incomprehensible that your conscious mind buries the memory in your unconscious.

Memory is fiction . . . All memory is a way of reconstructing the past. . . The act of narrating a memory is the act of creating fiction. [Armitstead, Claire. “Damon Galgut talks about his novel In a Strange Room.” The Guardian. 10 September 2010.]

We were still young enough to remember the cubist architecture of the piles of corpses we had seen during the war.

Memory is not an instrument for exploring the past but its theatre. It is the medium of past experience, as the ground is the medium in which dead cities lie interred.

Memory is a few lines snipped from a larger story that we are privileged to tuck away between the pages of our minds.

Each memory recalled must do some violence to its origins.

Writing about memories is an elusive process. It often begins with a good intention: to convey the truth. What happens in reality is that we only write down what passes through the censors' eyes. The censors here are the ambient time and space, social and political conditions, and the psychological changers the writer herself. What one writes now is certainly not what actually happened. It is but a vague indicator of what might have happened, a mixture of illusive and contracted images, a dream, or an act conditioned by either a denial or a desire to see past events shaped by what is yearned for in the present. p. 153

Our memory is a more perfect world than the universe: it gives back life to those who no longer exist.

And of all the rooms in my childhood,God was the largestand most empty.

The concept of Time is but the span of our memory.

Hands are difficult. You would think they would be just five quick lines, but no, they have personalities as intimate as faces. Elizabeth's hands, for instance—they are fine hands, with long fingers that remind me of tapered candles. A person one has loved—the memory of their hands. Did they flutter or sit still? Dry? Moist? Cool on a hot forehead? What? That is what I wish to express in my paintings. The memory—of the movement—of very particular hands, even though they appear to be unmoving on canvas.

We forget because we must And not because we will.

And anyway, the anticipation was always worse than the thing itself - the anticipation and the memory, of course. And the anticipation of the memory was maybe the worst part of all.

Only one who loves can remember so well.

It's one of the great fallacies, it seems to me," said Lee, "that time gives much of anything but years and sadness to a man.""And memory.""Yes, memory. Without that, time would be unarmed against us.

Inside the museums, | Infinity goes up on trial | Voices echo this is what salvation must be like after a while

Language does this to our memories—simplifies, solidifies, codifies, mummifies. An oft-told story is like a photograph in a family album; eventually, it replaces the moment it was meant to capture.

Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!

I have lain long here in your mind, longer than any nightmare has before me. I have sunk my roots into your worst imaginings and feasted on your memories. I know you, child.

In general the assumption of all of us, child or adult, was that this was a new country and that a new country had no history. History was something that applied to other places.

What is forgiven is usually well remembered.

one of the best and the most painful things about time traveling has been the opportunity to see my mother alive.

I am an omnivorous reader with a strangely retentive memory for trifles.

One must always maintain one’s connection to the past and yet ceaselessly pull away from it. To remain in touch with the past requires a love of memory. To remain in touch with the past requires a constant imaginative effort.

Nostalgia is a seductive liar.