The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.
certain details, somewhat curtailed, live in my memory. But I don't see anything anymore: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction.
The colors of living things begin to fade with the last breath, and the soft, springy skin and supple muscle rot within weeks. But the bones sometimes remain, faithful echoes of the shape, to bear some last faint witness to the glory of what was.
Writing from memory like this, I often feel a pang of dread. What if I've forgotten the most important thing? What if somewhere inside me there is a dark limbo where all the the truly important memories are heaped and slowly turning into mud?
Dimly--at first wary that it was merely a dislodged fragment of the dream--she remembered Resurgam. And then, slowly, events returned, not as a tidal wave, or even as as landslide, but as a slow, squelching slippage: a disembowelment of the past.
Circumstances cannot change how you feel. When you truly love someone – on a level that goes deeper than your mind, deeper than your memories, all the way to the very thing that makes you human – you do whatever it takes. You save him.
Love is motion Potter love is forward movement but you said yourself the memory reel backward it's all backward with you. You are stuck back there because Potter you don't let yourself move forward your eyes get stuck on things and people.
And afterwards, if you had asked any of the survivors how they had managed it, they would not have been able to tell you. It was as if those days in the forest, the escape to the city, had passed in a trance. The mind creates an alternative state.
My memory often seems like a city of exiled poets afire with the astonishment of language, each believing in the integrity of his own witness, each with a separate version of culture and history, and the divine essential fire that is poetry itself.
He put his hand on his forehead and scoured the French department of his memory for a word. He knew it was in there. He'd put it in almost fifty years before and hadn't had cause to remove it. But for the life of him he couldn't find it.
Medieval illustrations of the mind from the fourteenth century depict memories like snakes feeding into the imagination and, long before this, both Aristotle and Galen described memories not as archives of our lives, but as tools for the imagination.
The flame of the inn is dim tonight,Too many vacant chairs.The sun has lost too much of its light,Too many songs have taken flight,Too many ghosts on the stairs.Charon, here's to you as man against man,I wish I could pick 'em the way you can!
Slowly, quietly, like snow-flakes—like the small flakes that come when it is going to snow all night—little flakes of me, my impressions, my selections, are settling down on the image of her. The real shape wil be quite hidden in the end.
Memory is the mother of the muses, prototype Artist. As a rule picks and highlights what is important, omitting what is accidental or trivial. Occasionally, however, is mistaken as all the other artists. Nevertheless it is what I take as a guide page.
The act of vividly recalling a patch of the past is something that I seem to have been performing with the utmost zest all my life, and I have reason to believe that this almost pathological keenness of the retrospective faculty is a hereditary trait.
