A Quote by James Sallis
Mostly what you lose with time, in memory, is the specificity of things, their exact sequence. It all runs together, becomes a watery soup. Portmanteau days, imploded years. Like a bad actor, memory always goes for effect, abjuring motivation, consistency, good sense.
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I have a good memory. But I would be interested in memory even if I had a bad memory, because I believe that memory is our soul. If we lose our memory completely, we are without a soul.
Tech, in the sense of... putting things together, that goes back beyond memory for me.
What is memory but the repository of things doomed to be forgotten, so you must have History. You must have labor to invent History. Being faithful to all that happens to you of significance, recording days, dates, events, names, sights not relying merely upon memory which fades like a Polaroid print where you see the memory fading before your eyes like time itself retreating.
Memory is the friend of wit, but the treacherous ally of invention; there are many books that owe their success to two things; good memory of those who write them, and the bad memory of those who read them
It is a curious fact that in bad days we can very vividly recall the good time that is now no more; but that in good days, we have only a very cold and imperfect memory of the bad.
I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.
Such are the Splendors and Miseries of memory: it is proud of its ability to keep truthful track of the logical sequence of past events; but when it comes to how we experienced them at the time, memory feels no obligation to truth.
The one thing that holds people back from working out together is that they don't want to smell around other people. Your olfactory sense is the primary sense in your memory, and you don't want to be part of anyone's memory thinking that you smell bad.
I love Nashville, but I miss the Gulf Coast, the wetlands, and the Delta of Lower Alabama every day. Magnolia Springs is a sweet little town in reality, but, in my heart, it is a kind of mythological oasis. I relive the memory every time I cross the Magnolia River. My memory is probably not accurate, but it's a wonderful memory. So Magnolia Springs lives in my heart as a beautiful, cool, watery place.
I think the relationship between memory and time is a very deep and tricky one, to tell you the truth. I don't consider memory another sense. I do consider memory that which allows us to think that time flows.
And, as always happens, and happens far too soon, the strange and wonderful becomes a memory and a memory becomes a dream. Tomorrow it's gone.
I don't know what's my first real memory. When you're little, you're always looking forward to days that are special, like Christmas, birthdays, the Fourth of July, and family gatherings. But I can't pinpoint my earliest memory.
But pain may be a gift to us. Remember, after all, that pain is one of the ways we register in memory the things that vanish, that are taken away. We fix them in our minds forever by yearning, by pain, by crying out. Pain, the pain that seems unbearable at the time, is memory's first imprinting step, the cornerstone of the temple we erect inside us in memory of the dead. Pain is part of memory, and memory is a God-given gift.
I've always been fascinated by memory and I remember Jonah, when we first started dating, was working on something involving memory. It was early on in our relationship and I was like, damn it, I wanted to do a movie on memory. That was 'Memento.'
I have a good memory for early life. My visual memory is good about childhood and adolescence, and less good in the last 10 years. I could probably tell you less what happened in the last 10 years. I remember what houses looked like, sometimes they just pop into my head.
You write about experiences partly to understand what they mean, partly not to lose them to time. To oblivion. But there's always the danger of the opposite happening. Losing the memory of the experience itself to the memory of writing about it.
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