Quotes of All Topics . Occasions . Authors
Memory is a capricious and arbitrary creature. You never can tell what pebble she will pick up from the shore of life to keep among her treasures, or what inconspicuous flower of the field she will preserve as the symbol of "thoughts that do often lie too deep for tears." . . . And yet I do not doubt that the most Important things are always the best remembered.
And in the end, of course, a true war story is never about war. It's about sunlight. It's about the special way that dawn spreads out on a river when you know you must cross the river and march into the mountains and do things you are afraid to do. It's about love and memory. It's about sorrow. It's about sisters who never write back and people who never listen.
We're never going to have respectful and reverential relationships with the planet- and sensible policies about what we put in the air, the soil, the water - if very young children don't begin learning about these things literally in their houses, backyards, streets and schools. We need to have human beings who are oriented that way from their earliest memories.
I have memories of being in Yale five years ago. It was December and so damn cold that while professing love to my leading lady and singing a Bollywood ditty which went something like this, Kabhie alvida na kehna – my mouth froze itself to death. I say death because as I inched closer to kiss her, mouthing the words kabhi alvida na… my mouth and jaw just locked.
It doth not hurt", whispered a faint voice, "She will take you life and all you are and all you care'st for, and she will leave you with nothing but mist and fog. She'll take your joy. And one day you'll wake and your heart and soul will have gone. A husk you'll be, a wisp you'll be, and a thing no more than a dream on waking, or a memory of something forgotten.
Worry is different from fear. If fear is like a raging fever, worry is a low-grade temperature. It nags at us, simmers in our souls, hovers in the back of our minds like a faint memory. We may fear certain realities, like death; we worry about vague possibilities. Worry distracts us more than paralyzes us. It is like a leaky faucet we never get around to fixing.
Mothers ... would do anything to steer their daughter the right way. It is frustrating beyond measure for them when a daughter screams, 'You don't understand, and you'll never understand!' The mother stamps her foot in aggravation, but in this case the daughter is right: the mother doesn't understand. She merely remembers, and memory is separate from experience.
...and again she wished for Sherwood, and the dappled roof of leaves that never weighed upon her. She pulled her scarf closer around her and thought, I would rather live in a hut in the woods; a hut like the one of my first memories, with a clean-swept dirt floor, and a brown-eyed boy watching me from behind his mother's skirts as I watched him from behind mine.
The most abiding memory of visiting Lucian Freud's studio were his eyes, with the gimlet gaze of a Hooded Falcon. But he made for very relaxing company, quick to be amused at the world and his own peccadilloes. He enjoyed the seedy squalor of his rooms in a posh house in the most desirable part of Holland Park, and living up to his persona as an oddball bohemian.
The time must come to all of us, who live long, when memory is more than prospect. An angler who has reached this stage and reviews the pleasure of life will be grateful and glad that he has been an angler, for he will look back on days radiant with happiness, peaks of enjoyment that are no less bright because they are lit in memory by the light of a setting sun.
I was brought up on choirs and brass bands. They formed the music of my childhood. When I heard the Treorchy Male Choir at the Royal Variety Performance it brought back such happy memories. You have your own eminent place in the history of British music. You stand for excellence in a great tradition and your work for charity is both an example and an inspiration.
Just who has imposed on the suffering human race poison gas, barbed wire, high explosives, experiments in eugenics, the formula for zyklon b, heavy artillery, pseudo-scientific justifications for mass murder, cluster bombs, attack submarines, napalm, intercontinental missiles , military space platforms and nuclear weapons? If memory serves it was not the Vatican.
The 'idea' for the poem, which may come as an image thrown against memory, as a sound of words that sets off a traveling of sound and meaning, as a curve of emotion (a form) plotted by certain crises of events or image or sound, or as a title which evokes a sense of inner relations; this is the first 'surfacing' of the poem. Then a period of stillness may follow.
In time, after a dozen years of centering their lives around the games boys play with one another, the boys' bodies change and that changes everything else. But the memories are not erased of that safest time in the lives of men, when their prime concern was playing games with guys who just wanted to be their friendly competitors. Life never again gets so simple.
When I started going to church, my first memories are of the minister getting up and accusing us of being full of sin, though he didn't say why; then they would pass the collection plate, and I got it in my mind that this had to do with purification of the soul, that we were being invited to buy expiation from our sins. So I gave it all up. It was too nonsensical.
I think all writing is political. All writing shows a preoccupation with something, whatever that thing might be, and by putting pen to paper you are establishing a hierarchy of some sort - this emotion over that emotion, this memory over that memory, this thought over another. And isn't that process of establishing a hierarchy on the page a kind of political act?
We won't let ourselves feel our anger, rage, and pain. We push it down or anesthetize it through drugs, alcohol, shopping, or whatever we do in order not to feel it. When that memory and the associated feelings get lodged down there in our soul, the feelings are still there. They don't just magically go away. We have to give ourselves the opportunity to feel them.
Chimpanzees are incredibly intelligent. They can learn more than 400 signs of American Sign Language. They have memories for spatial distribution, like numbers on a TV screen, way better than ours. You come onto the emotions: happiness, sadness, fear, and despair - all the things for which I was accused of being anthropomorphic when I ascribed them to chimpanzees.
The semanticists are exactly wrong in regarding language as an obstruction or series of pitfalls. Language, on the contrary, appears as a great storehouse of universal memory, or it may be said to serve as a net, not imprisoning us but supporting us and aiding us to get at a meaning beyond present meaning through the very fact that it embodies others' experiences.
We too are called to withdraw at certain intervals into deeper silence and aloneness with God, together as a community as well as personally; to be alone with Him — not with our books, thoughts, and memories but completely stripped of everything — to dwell lovingly in His presence, silent, empty, expectant, and motionless. We cannot find God in noise or agitation.
I have heard that M. Guesdon is dictating lessons to his seminarians. This is contrary to the custom of the Company and a somewhat ineffective way of teaching, since the students rely on their notes and do not exercise either their judgment or their memory, In this way, their minds remain empty while they pile up papers which they will perhaps never look at again.
The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion, the entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.
A. E. Maxwell wrote one of the smartest, most consistent PI series in recent memory. Big plots, great villains, and a kickass private eye with plenty of humanity. The toughness of Robert B. Parker's early Spenser novels blended with the wry humor and scope of Ross Thomas. Wholly original, endlessly entertaining. The books of A. E. Maxwell are a forgotten treasure.
Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose footfalls tinkled on the tufted floor. "Wretch," I cried, "thy God hath lent thee--by these angels he hath sent thee-- Respite--respite and nepenthe from thy memories of Lenore! Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!" Quothe the Raven, "Nevermore.
And so I'm me again, Leo. Thanks to the example of a five-year-old. I'm hoping you wouldn't want it any other way. Not that you weren't flattered, right? I mean, to have a girl two thousand miles away going to pieces over you, weeping at the mere memory of you, losing her appetite, losing herself and self-respect - well, that's trophy enough for any guy's ego, huh?
At the most basic level, therefore, secure attachments in both childhood and adulthood are established by two individual's sharing a nonverbal focus on the energy flow (emotional states) and a verbal focus on the information-processing aspects (representational processes of memory and narrative) of mental life. The matter of the mind matters for secure attachments.
For the first time in living memory, the whole class of graduates faces a future of crushing debt, and a high probability, almost the certainty, of ad hoc, temporary, insecure and part-time work and unpaid 'trainee' pseudo-jobs deceitfully rebranded as 'practices' - all considerably below the skills they have acquired and eons below the level of their expectations.
In Irena’s head the alcohol plays a double role: it frees her fantasy, encourages her boldness, makes her sensual, and at the same time it dims her memory. She makes love wildly, lasciviously, and at the same time the curtain of oblivion wraps her lewdness in an all-concealing darkness. As if a poet were writing his greatest poem with ink that instantly disappears.
Our great mistake in education is ... the worship of book-learning-the confusion of instruction and education. We strain the memory instead of cultivating the mind. ... We ought to follow exactly the opposite course with children-to give them a wholesome variety of mental food, and endeavour to cultivate their tastes, rather than to fill their minds with dry facts.
The normal cut in a theatrical film is anywhere from 3 to 6 seconds. That means thousands of images in a film over a couple of hours. In Visitors the cuts come every 70-plus seconds. The point of view is that the stiller one can be the more open to their senses they become. The whole world is quick right now. If things can be slowed down they stay in memory longer.
Every time you recall a memory, you're basically making another copy of it and at that same point it is susceptible to new changes and adaptations. So, you know, if you remember from when you were, you know, in second grade and there was Christmas and you got a present from your grandfather and your mom was wearing a red dress, that may or may not all have happened.
I was about 10 years old. I just remember the film Enter the Dragon with Bruce Lee blowing my mind on the screen and I thought to myself, "That's what I want to do for a living when I'm older." Bruce Lee was so magnetic and charismatic and held the screen so well. It's just a very powerful performance in that film. That's the first memory I have - him in that movie.
For this very reason I refuse all the tricks of the trade and professional virtuosity which could make me betray my career. As soon as I find a subject which interests me, I leave it to the lens to record it truthfully. Look at the reporters and at the amateur photographer! They both have only one goal; to record a memory or a document. And that is pure photography.
We ran into lots of old friends. Friends from elementary school, junior high school, high school. Everyone had matured in their own way, and even as we stood face to face with them they seemed like people from dreams, sudden glimpses through the fences of our tangled memories. We smiled and waved, exchanged a few words, and then walked on in our separate directions.
The snag in being married to a person who knows more or less everything is that one gets hopelessly lazy. ... I never look things up in books because all I need to do is ask him, and when he gives me the answers I don't properly commit them to memory because I know if I forget all I have to do is to ask him again. It is rather like keeping one's brain in a suitcase.
In certain favorable moods, memories -- what one has forgotten -- come to the top. Now if this is so, is it not possible -- I often wonder -- that things we have felt with great intensity have an existence independent of our minds; are in fact still in existence? And if so, will it not be possible, in time, that some device will be invented by which we can tap them?
I see the origin of the irresistible attraction of metaphor and analogy, the explanation of our strange and permanent need to find similarities in things. I can scarcely refrain from suspecting some ancient, diffused magnetism; a call from the center of things; a dim, almost lost memory, or perhaps a presentiment, pointless in so puny a being, of a universal syntax.
Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt, in a sense, against actuality. It speaks of what seems fantastic and unreal to those who have lost the simple intuitions which are the test of reality; and, as it is often found at war with its age, so it makes no account of history, which is fabled by the daughters of memory.
I think we need to be put back in touch with our childhood...to be reminded of what's important, like memories about people we loved, or things that happened to us that affected our lives, things we can laugh about and shed a few tears about... I think storytelling is a way of saying 'I love you. I love you enough to tell you something that means a great deal to me.'
Public taste changes and the aesthetic of a culture changes over time, so the idea isn't to appeal to the aesthetic of the moment and what people will like right now; the idea is to somehow keep yourself in the public memory so that as taste evolves it will eventually come to embrace your thing. So, it's about writing to be remembered rather than writing to be liked.
So many people that we met had some sort of connection to the [Olympics] games. Some story about how they volunteered there, or some sort of memory of it. It still is in the cultural memory and identity of these cities as much as it is in the physical and architectural memory. It's where these two things overlap, I think, that we're trying to explore with the photos.
The real joke that history played on American women is not the one that makes people snigger, with cheap Freudian sophistication, at the dead feminists. It is the joke that Freudian thought played on living women, twisting the memory of the feminists into the man-eating phantom of the feminine mystique, shriveling the very wish to be more than just a wife and mother.
We live in a world made up more of story than stuff. We are creatures of memory more than reminders, of love more than likes. Being attentive to the needs of others might not be the point of life, but it is the work of life. It can be messy, and painful, and almost impossibly difficult. But it is not something we give. It is what we get in exchange for having to die.
Your heart is as fresh as your face; and that is well. The useless men are those who never change with the years. Many views that I held to in my youth and long afterwards are a pain to me now, and I am carrying away from Thrums memories of errors into which I fell at every stage of my ministry. When you are older you will know that life is a long lesson in humility.
If you will take me for your wife, Walter, I will love you dearly. If you will let me go with you, Walter, I will go to the world's end without fear. I can give up nothing for you - I have nothing to resign, and no one to forsake; but all my love and life shall be devoted to you, and with my last breath I will breathe your name to God if I have sense and memory left.
Sentir mon Cœur is a privilege only granted to the exceptional man - the one who has the ability to find words that exactly (or, to himself, convincingly) express his feelings... The value of words help to define the feeling itself... The common failure is to allow habitual words and phrases, flowing spontaneously from the memory, to determine and deform the feelings.
Peace. That's what salaam means. Peace unto you." The words brought forth an echo from Ender's memory. His mother's voice reading to him softly, when he was very young. ... The kiss, the word, the peace were with him still. I am only what I remember, and Alai is my friend in a memory so intense that they can't tear him out. Like Valentine, the strongest memory of all.
. . . What role does historiography play in the way a society and culture "remembers" past events? Does the historian have a moral or civic responsibility to this project of memory that ought to influence the way he or she engages in historical practice? Should moral concerns influence the historian's choice of subject matter, of issues to discuss, of evidence to use?
Liberation does not concern the person, for liberation is freedom from the person. Basically the disciple and teacher are identical. Both are the timeless axis of all action and preception. The only difference is that one 'knows' himself for what he is while the other does not. The idea of being a person, an ego, is nothing other than an image held together by memory.
Viewers have a way of remembering the celebrity while forgetting the product. I did not know this when I paid Eleanor Roosevelt $35,000 to make a commercial for margarine. She reported that her mail was equally divided. "One half was sad because I had damaged my reputation. The other half was happy because I had damaged my reputation." Not one of my proudest memories.