You remind me of a boy I used to knowSame Smile, same easy, laid-back styleAnd man, could he kissBlew my mind the very first timeHis lips touched mine.You remind me You remind me of a boy I used to like.Same eyes, strong arms, same open mindAnd man, could he danceArms around me, lost in a tranceI'd hear his heartYou remind meI'm scared of youHow did you find me?Turn and walk away'Cause you remind meYou remind me of a boy I used to loveSame laughter and tears, shared through the years And man, how he feltMade my bones more than meltHe touched my soul.You remind meI'm scared of youHow did you find me?Turn and walk away'Cause you remind me

Our dreams and stories may contain implicit aspects of our lives even without our awareness. In fact, storytelling may be a primary way in which we can linguistically communicate to others—as well as to ourselves—the sometimes hidden contents of our implicitly remembering minds. Stories make available perspectives on the emotional themes of our implicit memory that may otherwise be consciously unavailable to us. This may be one reason why journal writing and intimate communication with others, which are so often narrative processes, have such powerful organizing effects on the mind: They allow us to modulate our emotions and make sense of the world.

VLADIMIR: (after a moment of bewilderment). We'll see when the time comes. (Pause.) I was saying that things have changed here since yesterday.ESTRAGON: Everything oozes.VLADIMIR: Look at the tree.ESTRAGON: It's never the same pus from one second to the next.VLADIMIR: The tree, look at the tree. Estragon looks at the tree.ESTRAGON: Was it not there yesterday?VLADIMIR: Yes of course it was there. Do you not remember? We nearly hanged ourselves from it. But you wouldn't. Do you not remember?ESTRAGON: You dreamt it.VLADIMIR: Is it possible you've forgotten already?ESTRAGON: That's the way I am. Either I forget immediately or I never forget.

(...) compor meticulosamente o cadastro afetivo e o retrato fantástico-histórico de uma comunidade e de uma de suas remotas jornadas de meio século atras. E isso não com os instrumentos racionais, a ficha, o documento, o testemunho, caros ao arqueólogo do cotidiano, mas por meio de um sortilégio espontâneo de silhuetas que se esvaziaram gradativamente, uma depois da outra, numa parede: relicário de epifanias momentâneas, cinema de larvas dispersas; o insuficiente butim de um aprendiz de Noé que, depois do diluvio, para não esquecer o mundo, andasse a vasculhar os fosseis soterrados na areia (...)

... I believe in some sense much akin to the belief of faith, that I noticed, felt, or underwent what I describe—but it may be that the only reason childhood memories act on us so strongly is that, being the most remote we possess, they are the worst remembered and so offer the least resistance to that process by which we mold them nearer and nearer to an ideal which is fundamentally artistic, or at least nonfactual; so it may be that some of these events I describe never occurred at all, but only should have, and that others had not the shades and flavors—for example, of jealousy or antiquity or shame—that I have later unconsciously chosen to give them...

Сколько времени помнишь запах человека, который тебя любил? А когда сама перестаешь любить? Мне нужны песочные часы.

I know for a fact that no matter where I go, the memory and the suffering of not being with you will cripple me. I will go to work, fire up my PC, only to check if you're online. I will hover the pointer to your name, it will pop your contact details--just the contact details, no photo, no one-liners, no sign of what we used to have--but I shall linger and stare at it for hours. I will attempt to start a chat, but will close it without even a word to type. I will try to divert my thoughts back to work. But will fail. I will always go back to you. One hour to another, it's 5 PM. I pack my things, unproductive for the day and smile. I'm doing that again tomorrow and the next.

Inconstancy of every second punishes me.The wind, the rain, the clouds, the days,I try to grasp the hours but they banish me,And I remain in the vortex of incongruity.The lone coyote shrieks,Startling my soul into wakefulness.The Cacti bloom and the Wren beckons,Deepening my mind into dreamlessness.And the moments spend time with inconstancy,increasing the ease of uneasiness.Why this daily pilgrimage of ideas?When no saint has ever ceased the day!Still yearning for some magic hour,Where nothing but permanence dwells.Alas, only this thought be the only truth,That certainty in death is constant.And so, in every second, minute, hour,our only gain is memory.Be it bitter or sweet:it is ours!Rejoice.

Хараагаараа унтдаг хүн гэнэт сэрэх мэт Хачин адгуусан нүдээр намайг онож ядахӨнгөрсөн юм гэдэг дандаа сэтгэл шимшрэм...

People with Complex PTSD suffer from more severe and frequent dissociation symptoms, as well as memory and attention problems, than those with simple PTSD. In addition to amnesia due to the activity of various parts of the self, people may experience difficulties with concentration, attention, other memory problems and general spaciness. These symptoms often accompany dissociation of the personality, but they are also common in people who do not have dissociative disorders. For example everyone can be spacey, absorbed in an activity, or miss an exit on the highway. When various parts of the personality are are active, by definition, a person experiences some kind of abrupt change in attention and consciousness.

Мабуть, саме всеохопність пам'яті й невідворотність спогадів і змусили людство вигадати спорт, мистецтво та анестезію.

The important thing for the remembering author is not what he experienced, but the weaving of his memory, the Penelope work of recollection. Or should one call it, rather, the Penelope work of forgetting? ... And is not his work of spontaneous recollection, in which remembrance is the woof and forgetting the warp, a counterpart to Penelope's work rather than its likeness? For here the day unravels what the night has woven. When we awake each morning, we hold in our hands, usually weakly and loosely, but a few fringes of the tapestry of a lived life, as loomed for us by forgetting. However, with our purposeful activity and, even more, our purposive remembering each day unravels the web and the ornaments of forgetting.

I discovered that my obsession for having each thing in the right place, each subject at the right time, each word in the right style, was not the well-deserved reward of an ordered mind but just the opposite: a complete system of pretense invented by me to hide the disorder of my nature. I discovered that I am not disciplined out of virtue but as a reaction to my negligence, that I appear generous in order to conceal my meanness, that I pass myself off as prudent because I am evil-minded, that I am conciliatory in order not to succumb to my repressed rage, that I am punctual only to hide how little I care about other people’s time. I learned, in short, that love is not a condition of the spirit but a sign of the zodiac.

[Memory]... is a system of near-infinite complexity, a system that seems designed for revision as much as for replication, and revision unquestionably occurs. Details from separate experiences weave together, so that the rememberer thinks of them as having happened together. The actual year or season or time of day shifts to a different one. Many details are lost, usually in ways that serve the self in its present situation, not the self of ten or twenty or forty years ago when the remembered event took place. And even the fresh memory, the 'original,' is not reliable in a documentary sense....Memory, in short, is not a record of the past but an evolving myth of understanding the psyche spins from its engagement with the world.

Because, George thought as she sat there with her eyes closed back before Christmas in Mrs Rock's self-consciously comfortable chair in the counselling office, how can it be that there's an advert on TV with dancing bananas unpeeling themselves in it and teabags doing a dance, and her mother will never see that advert? How can that advert exist and her mother not exist in the world?She didn't say it out loud, though, because there wasn't a point.It isn't about saying.It is about the hole which will form in the roof through which the cold will intensify and after which the structure of the house will begin to shift, like it ought, and through which George will be able to lie every night in bed watching the black sky.