Quotes of All Topics . Occasions . Authors
It is an exquisite and beautiful thing in our nature, that, when the heart is touched and softened by some tranquil happiness or affectionate feeling, the memory of the dead comes over it most powerfully and irresistibly. It would seem almost as though our better thoughts and sympathies were charms, in virtue of which the soul is enabled to hold some vague and mysterious intercourse with the spirits of those whom we loved in life. Alas! how often and how long may these patient angels hover around us, watching for the spell which is so soon forgotten!
I've been moving a little to the music while I worked ...and then I realize I am actually dancing. It feels wonderful, though I can feel how stiff my muscles are, how rigidly I've been holding myself...Mostly I've been moving cautiously, numbly, steeled because I know, at any moment, I may be ambushed by overwhelming grief. You never know when it's coming, the word or gesture or bit of memory that dissolved you entirely...It happens every day at first, then not for a day or two, then there's a week when grief washes in every morning, every afternoon.
Feelings are only your history being occasioned by the present moment. If that's your enemy, then your history is your enemy. If sensations are your enemy, your body is your enemy. And if memory is your enemy, you'd better have a way of controlling your mind in such a way that you never are reminded of things that are painful from the past. If you avoid people, avoid having your buttons pushed, avoid going to places that might occasion anxiety; if you're hammering down drugs and alcohol; these are all methods of trying to mount that unhealthy agenda.
If the Soul sees, after death , what passes on this earth , and watches over the welfare of those it loves, then must its greatest happiness consist in seeing the current of its beneficent influences widening out from age to age, as rivulets widen into rivers, and aiding to shape the destinies of individuals, families, States, the World; and its bitterest punishment, in seeing its evil influences causing mischief and misery , and cursing and afflicting men, long after the frame it dwelt in has become dust, and when both name and memory are forgotten.
Out of its squalor and human decay, its eruptions of butchery, India produced so many people of grace and beauty, ruled by elaborate courtesy. Producing too much life, it denied the value of life; yet it permitted a unique human development to so many. Nowhere were people so heightened, rounded and individualistic; nowhere did they offer themselves so fully and with such assurance. To know Indians was to take a delight in people as people; every encounter was an adventure. I did not want India to sink [out of my memory]; the mere thought was painful.
My chest tightens: seeing him so upset breaks my own heart. 'Don't you ever wish you could make that bit go away?" I say, feeling angry at the past. 'That you could erase those painful memories, forget they every happened, just remember the happy times you had together?' 'You must never say that,' he reprimands sternly. 'But why not?' I look at him in surprise. 'Because it's the bad memories that makes you appreciate the good ones. Don't ever wish them away. it's like your nan always used to say, "You need both the sun and the rain to make a rainbow".
A prejudice may be an unreasoned judgment, he [Hibben] pointed out, but an unreasoned judgment is not necessarily an illogical judgment. ... First, there are those judgments whose verification has simply dropped out of memory. ... The second type of unreasoned judgments we hold is the opinions we adopt from others ... The third class of judgments in Professor Hibben's list comprises those which have subconscious origin. The material that furnishes their support does not reach the focal point of consciousness, but psychology insists upon its existence.
I like the idea all memory is fiction, that we have queued a couple of things in the back of our minds and when we call forth those memories, we are essentially filling in the blanks. We're basically telling ourselves a story, but that story changes based on how old we are, and what mood we're in, and if we've seen photographs recently. We trust other people to tell us the story of our lives before we can remember it, and usually that's our parents and usually it works, but obviously not always. And everybody's interpretation is going to be different.
Are you in pain, Frodo?' said Gandalf quietly as he rode by Frodo's side. 'Well, yes I am,' said Frodo. 'It is my shoulder. The wound aches, and the memory of darkness is heavy on me. It was a year ago today.' 'Alas! there are some wounds that cannot be wholly cured,' said Gandalf. 'I fear it may be so with mine,' said Frodo. 'There is no real going back. Though I may come to the Shire, it will not seem the same; for I shall not be the same. I am wounded with knife, sting, and tooth, and a long burden. Where shall I find rest?' Gandalf did not answer.
Memories seem to surface in no particular order, with no time attached. Yesterday can seem as distant as last year. My life now consists of fragments where some are so blinding in their intensity that they make everything else indistinguishable. It feels as if my existence was extinguished in a flash, and afterwards my universe became incomprehensible. I want to remember everything. But perhaps I need to give it more time. Allow myself some rest. Distance myself a little, to see if I can make out a pattern. And face the truth about what is really there.
In Technologized Desire, the cultural pathologies that mark the panic ecstasy and terminal doom of the posthuman condition are powerfully rehearsed in the language of science fiction. Here, images of prosthetic subjects, zombies, cut-ups and armies of the medieval dead actually slip off the pages of literature to become the terminal hauntology of these technologized times. Technologized Desire is nothing less than a brilliant data screen of future memories. Read it well: it's a survival guide for bodies flatlined by the speed of accelerating technology.
We have all experienced times when, instead of being buffeted by anonymous forces, we do feel in control of our actions, masters of our own fate. On the rare occasions that it happens, we feel a sense of exhilaration, a deep sense of enjoyment that is long cherished and that becomes a landmark in memory for what life should be like.. moments like these are not the passive, receptive, relaxing timesthe best moments usually occur when a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile.
Most of our difficulties, our hopes, and our worries are empty fantasies. Nothing has ever existed except this moment. That's all there is. That's all we are. Yet most human beings spend 50 to 90 percent or more of their time in their imagination, living in fantasy. We think about what has happened to us, what might have happened, how we feel about it, how we should be different, how others should be different, how it's all a shame, and on and on; it's all fantasy, all imagination. Memory is imagination. Every memory that we stick to devastates our life.
There are vivid memories from my childhood-what we had to go through because of low wages and the conditions, basically because there was no union. I suppose if I wanted to be fair I could say that I'm trying to settle a personal score. I could dramatize it by saying that I want to bring social justice to farm workers. But the truth is that I went through a lot of hell, and a lot of people did. If we can even the score a little for the workers then we are doing something. Besides, I don't know any other work I like to do better than this. I really don't.
There are more similarities than differences when it comes to preparation of a performance. You're using some lyrics, you have a relationship with them, they apply to different parts of your life and different circumstances, different memories, different stories you have in your head. You form personal relationships with the song. I think that's very similar, in a way, to prepping a character. You pour your own personality, in a sense, into the character, you sympathize with a character in a way that's similar to the way you might sympathize with a song.
The memories which peaceful country scenes call up, are not of this world, nor of its thoughts and hopes. Their gentle influence may teach us how to weave fresh garlands for the graves of those we loved: may purify our thoughts, and bear down before it old enmity and hatred; but beneath all this, there lingers, in the least reflective mind, a vague and half-formed consciousness of having held such feelings long before, in some remote and distant time, which calls up solemn thoughts of distant times to come, and bends down pride and worldliness beneath it.
Do not allow past experiences to be imprinted on your mind. Perform asanas each time with a fresh mind and with a fresh approach. If you are repeating what you did before, you are living in the memory, so you are living in the past. That means you don't want to proceed beyond the experience of the past. Retaining that memory is saying, 'Yesterday I did it like that.' When I ask, 'Is there anything new from what I did yesterday?' then there is progress. Am I going forward or am I going backward? Then you understand how to create dynamism in a static asana.
Everyone tells you to write what you know. It’s the tried-and-true advice every writer hears at some point in her career. But to take my writing to a deeper level, I’ve found that a better practice is to simply write what frightens you, haunts you, even. I now keep a sign on the bulletin board in my office that reads: 'Write What Scares You.' I’ve learned that tapping into the hard stuff — whether it’s the fear of loss or a boogeyman lurking in childhood memories — is what ultimately gives a story the power to leap off the page and grab you by the collar.
You will find a spring by the dwelling of the dead, to the left. Next to it stands a white cypress. Do not approach that spring, do not go near it. You will find another spring that pours from the lake of Memory, cool water gushes out of it. There are guards in front of it. Address these words to them: I am daughter of the earth and the star-covered Sky, and I descend from the Sky; and that you know; I burn and die of thirst; let me drink quickly of the cool water that gushes from the lake of Memory. And they will allow you to drink from the sacred spring.
There was no God in his heart, he knew; his ideas were still in riot; there was ever the pain of memory; the regret for his lost youth-yet the waters of disillusion had left a deposit on his soul, responsibility and a love of life, the faint stirring of old ambitions and unrealized dreams...... And he could not tell why the struggle was worth while, why he had determined to use to the utmost himself and his heritage from the personalities he had passed... He stretched out his arms to the crystalline, radiant sky. I know myself," he cried, "but that is all.
Perhaps the earliest memories I have are of being a stubborn, determined child. Through the years my mother has told me that it was fortunate that I chose to do acceptable things, for if I had chosen otherwise no one could have deflected me from my path. ... The Chairman of the Physics Department, looking at this record, could only say 'That A- confirms that women do not do well at laboratory work'. But I was no longer a stubborn, determined child, but rather a stubborn, determined graduate student. The hard work and subtle discrimination were of no moment.
While the repression of a memory is a psychological process, the suppression of feeling is accomplished by deadening a part of the body or reducing its motility so that feeling is diminished. The repression of the memory is dependent upon and related to the suppression of feeling, for as long as the feeling persists, the memory remains vivid. Suppression entails the development of chronic muscular tension in those areas of the body where the feeling would be experienced. In the case of sexual feeling, this tension is found in and about the abdomen and pelvis
For the eternity that Lux Lisbon looked at him, Trip Fontaine looked back, and the love he felt at that moment, truer than all subsequent loves because it never had to survive real life, still plagued him, even now in the desert, with his looks and health wasted. 'You never know what'll set the memory off,' he told us. 'A baby's face. A bell on a cat's collar. Anything.' They didn't exchange a single word. But in the weeks that followed, Trip spent his days wandering the halls, hoping for Lux to appear, the most naked person with clothes on he had ever seen.
Even time is a concept. In reality we are always in the eternal present. The past is just a memory, the future just an image or thought. All our stories about past and future are only ideas, arising in the moment. Our modern culture is so tyrannized by goals, plans, and improvement schemes that we constantly live for the future. But as Aldous Huxley reminded us in his writings, "An idolatrous religion is one in which time is substituted for eternity...the idea of endless progress is the devil's work, even today demanding human sacrifice on an enormous scale.
If I were poet now, I would not resist the temptation to trace my life back through the delicate shadows of my childhood to the precious and sheltered sources of my earliest memories. But these possessions are far too dear and sacred for the person I now am to spoil for myself. All there is to say of my childhood is that it was good and happy. I was given the freedom to discover my own inclinations and talents, to fashion my inmost pleasures and sorrows myself and to regard the future not as an alien higher power but as the hope and product of my own strength.
Of course, thanks to the house, a great many of our memories are housed, and if the house is a bit elaborate, if it has a cellar and a garret, nooks and corridors, our memories have refuges that are all the more clearly delineated. All our lives we come back to them in our daydreams. A psychoanalyst should, therefore, turn his attention to this simple localization of our memories. I should like to give the name of topoanalysis to this auxiliary of pyschoanalysis. Topoanalysis, then would be the systematic psychological study of the sites of our intimate lives.
The last speaker alluded to this movement as being that of a few disappointed women. From the first years to which my memory stretches, I have been a disappointed woman. I was disappointed when I came to seek a profession worthy an immortal being - every employment was closed to me, except those of the teacher, the seamstress, and the housekeeper. In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer.
Now I don't want to take roles just for money. It's like trying on the right dress. When you go shopping for a dress, you can try to make something work 'cause you can't find the right one, but you always have that memory of the time you put on the perfect dress and you were like, "Oh, my god, I love myself in this dress! I'm excited to go out and have people see me in this!" That's the way that I'm looking at the roles that I want to do. I'm not looking for anything specific, except for something that has heart, and that I will enjoy doing that feeds my soul.
No, the last thing she cared about was whether people were staring at the boy and girl kissing by the river, as London, it's cities and towers and churches and bridges and streets, circled all about them like the memory of a dream. And if the Thames that ran beside them, sure and silver in the afternoon light, recalled a night long ago when the moon shone as brightly as a shilling on this same boy and girl, or if the stones of Blackfriars knew the tread of their feet and thought to themselves: At last, the wheel comes to a full circle, they kept their silence.
The smell of the sea, of kelp and fish and bitter moving water, rose stronger in my nostrils. It flooded my consciousness like an ancestral memory. The swells rose sluggishly and fell away, casting up dismal gleams between the boards of the pier. And the whole pier rose and fell in stiff and creaking mimicry, dancing its long slow dance of dissolution. I reached the end and saw no one, heard nothing but my footsteps and the creak of the beams, the slap of waves on the pilings. It was a fifteen-foot drop to the dim water. The nearest land ahead of me was Hawaii.
The most compelling insight of that day was that this awesome recall had been brought about by a fraction of a gram of a white solid, but that in no way whatsoever could it be argued that these memories had been contained within the white solid. Everything I had recognized came from the depths of my memory and my psyche. I understood that our entire universe is contained in the mind and the spirit. We may choose not to find access to it, we may even deny its existence, but it is indeed there inside us, and there are chemicals that can catalyze its availability.
I have no memory for things I have learned, nor things I have read, nor things experienced or heard, neither for people nor events; I feel that I have experienced nothing, learned nothing, that I actually know less than the average schoolboy, and that what I do know is superficial, and that every second question is beyond me. I am incapable of thinking deliberately; my thoughts run into a wall. I can grasp the essence of things in isolation, but I am quite incapable of coherent, unbroken thinking. I can't even tell a story properly; in fact, I can scarcely talk.
I have a lot of special memories with my parents but my toughest one is, I had, as a teenager, a pretty insatiable appetite for beer. The first time I got drunk my father found me throwing up in the bathroom. I was 15, maybe 16, and the disappointment in his voice, I can hear it to this day, and the sorrow that that brought to him. He just felt like a failure as a father, and Id give anything to take that day back because that was so hard on him. In time, my life got better, and his did too, but that was really memorable, one of those memories Id like to forget.
You have to be reminded of a basic fact: intelligence belongs to the watching consciousness; memory belongs to the mind. Memory is one thing - memory is not intelligence. But the whole of humanity has been deceived for centuries and told indirectly that the memory is intelligence. Your schools, your colleges, your universities are not trying to find your intelligence; they are trying to find out who is capable of memorizing more. And now we know perfectly well that memory is a mechanical thing. A computer can have memory, but a computer cannot have intelligence.
Some men at the approach of a dispute neigh like horses. Unless there be an argument, they think nothing is doing. Some talkers excel in the precision with which they formulate their thoughts, so that you get from them somewhat to remember; others lay criticism asleep by a charm. Especially women use words that are not words,--as steps in a dance are not steps,--but reproduce the genius of that they speak of; as the sound of some bells makes us think of the bell merely, whilst the church chimes in the distance bring the church and its serious memories before us.
Up until 1986, the top marginal rate, the top statutory rate was 50 percent. Now it's 35 percent. And all the pressure is on to lower that even further. And this just doesn't make a great deal of sense. When people say, 'Oh, we can't raise taxes on the rich. They'll go on strike, they'll move to another country.' But within recent memory, it hasn't been that long ago that we had rates that were substantially higher. And these people did just fine. I just think that there's a disconnect between the facts of what taxes do and the sort of mythology of what they do.
When in the wondrous realms above Our Saviour had been called upon, To save our world of sin by love, He said, "Thy will, O Lord, be done.' The Kings of kings left worlds of light, Became the meek and lowly one; In brightest day or darkest night He said, "Thy will, O Lord, be done." No crown of thorns, no cruel cross Could make our great Redeemer shun. He counted his own will but loss, And said, "Thy will, O Lord, be done." We take the bread and cup this day, In memory of the Sinless One, And pray for strength, That we may say, As he, "Thy will, O Lord, be done."
Listening to her, one experienced a deep uneasiness as of having avoided an urgent responsibility, like someone who, walking at night along the banks of a stream, catches a glimpse in the water of a white face or a moving limb and turns quickly away, refusing to help or to search for help. We all see the faces in the water. We smother our memory of them, even our belief in their reality, and become calm people of the world; or we can neither forget or help them. Sometimes by a trick of circumstances or dream or a hostile neighborhood of light we see our own face.
With you a part of me hath passed away; For in the peopled forest of my mind A tree made leafless by this wintry wind Shall never don again its green array. Chapel and fireside, country road and bay, Have something of their friendliness resigned; Another, if I would, I could not find, And I am grown much older in a day. But yet I treasure in my memory Your gift of charity, and young hearts ease, And the dear honour of your amity; For these once mine, my life is rich with these. And I scarce know which part may greater be,-- What I keep of you, or you rob from me.
I realized the shells were talking in a voice I recognized. I should have; it was my own. Had I always known that? I suppose I had. On some level, unless we're mad, I think most of us know the various voices of our own imaginations. And of our memories, of course. They have voices, too. Ask anyone who has ever lost a limb or a child or a long-cherished dream. Ask anyone who blames himself for a bad decision, usually made in a raw instant (an instant that is most commonly red). Our memories have voices, too. Often sad ones that clamor like raised arms in the dark.
Everything becomes agitated. Ideas quick-march into motion like battalions of a grand army to its legendary fighting ground, and the battle rages. Memories charge in, bright flags on high; the cavalry of metaphor deploys with a magnificent gallop; the artillery of logic rushes up with clattering wagons and cartridges; on imagination's orders, sharpshooters sight and fire; forms and shapes and characters rear up; the paper is spread with ink - for the nightly labor begins and ends with torrents of this black water, as a battle opens and concludes with black powder.
It's funny how insomnia has a way of hauling faded memories up from the cellar of the mind, unearthing buried bits of nostalgia from deep within and spreading the broken, jagged pieces out in front of you like a display of junk at a garage sale. It makes you feel cheap and guilty when you didn't do a thing in the world to kindle the dull burn in your veins or the sting in your eyes. Some nights the painful past unexpectedly pushes up through the floorboards like an ugly nightmarish weed, and by doing so, cultivates and nurtures an entirely new species of headache.
In a fragment of a second you can understand: Things you know, things you don’t know, things you don’t know that you don’t know, conscious, unconscious, things which in a fragrant of a second you can react to: we can all imagine why this capacity was given to us as human beings - I guess to survive. Architecture to me has the same kind of capacity. It takes longer to capture, but the essence to me is the same. I call this atmosphere. When you experience a building and it gets to you. It sticks in your memory and your feelings. I guess thats what I am trying to do.
One of my great memories of John is from when we were having some argument. I was disagreeing and we were calling each other names. We let it settle for a second and then he lowered his glasses and he said: "It's only me." And then he put his glasses back on again. To me, that was John. Those were the moments when I actually saw him without the facade, the armor, which I loved as well, like anyone else. It was a beautiful suit of armor. But it was wonderful when he let the visor down and you'd just see the John Lennon that he was frightened to reveal to the world.
The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them,and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols,breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.
[Polythene Pam] was me, remembering a little event with a woman in Jersey, and a man who was England's answer to Allen Ginsberg, who gave us our first exposure - this is so long - you can't deal with all this. You see, everything triggers amazing memories. I met him when we were on tour and he took me back to his apartment and I had a girl and he had one he wanted me to meet. He said she dressed up in polythene, which she did. She didn't wear jackboots and kilts, I just sort of elaborated. Perverted sex in a polythene bag. Just looking for something to write about.
Why? Why does what was beautiful suddenly shatter in hindsight because it concealed dark truths? Why does the memory of years of happy marriage turn to gall when our partner is revealed to have had a lover all those years? Because such a situation makes it impossible to be happy? But we were happy! Sometimes the memory of happiness cannot stay true because it ended unhappily. Because happiness is only real if it lasts forever? Because things always end painfully if they contained pain, conscious or unconscious, all along? But what is unconscious, unrecognized pain?
The gods weave misfortunes for men, so that the generations to come will have something to sing about.” Mallarmé repeats, less beautifully, what Homer said; “tout aboutit en un livre,” everything ends up in a book. The Greeks speak of generations that will sing; Mallarmé speaks of an object, of a thing among things, a book. But the idea is the same; the idea that we are made for art, we are made for memory, we are made for poetry, or perhaps we are made for oblivion. But something remains, and that something is history or poetry, which are not essentially different.
With reference to the narrative of events, far from permitting myself to derive it from the first source that came to hand, I did not even trust my own impressions, but it rests partly on what I saw myself, partly on what others saw for me, the accuracy of the report always being tried by the most severe and detailed tests possible. My conclusions have cost me some labour from the want of coincidence between accounts of the same occurrences by different eye-witnesses, arising sometimes from imperfect memory, sometimes from undue partiality for one side or the other.
When she looked at herself in her wedding photographs, Ammu felt the woman that looked back at her was someone else. A foolish jewelled bride. Her silk sunset-coloured sari shot with gold. Rings on every finger. White dots of sandalwood paste over her arched eye-brows. Looking at herself like this, Ammu's soft mouth would twist into a small, bitter smile at the memory - not of the wedding itself so much as the fact that she had permitted herself to be so painstakingly decorated before being led to the gallows. It seemed so absurd. So futile. Like polishing firewood.