A Quote by Kate Morton

Wars make history seem deceptively simple. They provide clear turning points, easy distinctions.: before and after, winner and loser, right and wrong. True history, the past, is not like that. It isn't flat or linear. It has no outline. It is slippery, like liquid; infinite and unknowable, like space. And it is changeable: just when you think you see a pattern, perspective shifts, an alternate version is proffered, a long-forgotten memory resurfaces.
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.
After school, I went to Damascus to study law and history, which I didn't really like. I didn't like history, in particular. In Syria, the regime was trying to present to us a distorted version of the past. Assad was shown as the father of history. So I decided to shift to film, which was something I had always loved as a teenager.
If one tries to think about history, it seems to me - it's like looking at a range of mountains. And the first time you see them, they look one way. But then time changes, the pattern of light shifts. Maybe you've moved slightly, your perspective has changed. The mountains are the same, but they look very different.
I felt like lying down by the side of the trail and remembering it all. The woods do that to you, they always look familiar, long lost, like the face of a long-dead relative, like an old dream, like a piece of forgotten song drifting across the water, most of all like golden eternities of past childhood or past manhood and all the living and the dying and the heartbreak that went on a million years ago and the clouds as they pass overhead seem to testify (by their own lonesome familiarity) to this feeling.
'Texas Chainsaw Massacre' is just one of those movies that's like a page of history. You can't really go wrong. It's a prequel. It's not like number three. Which is really cool, to be the before as opposed to the after.
When I was growing up reading history books as a young student, it seemed all wars had a winner. Yet in today's wars, it is increasingly clear that no one wins. Everyone loses.
As someone who has long loved history and reads a lot of history, especially when you get a distance like 130 years, these people can seem almost mythical, and you need something tangible to make them real.
My take is that there's two ways to approach history. You sit in your armchair and you watch it on the news and you return to your PlayStation. Or you get out in the streets and you make it. Like, when those Supreme Court justices, you know, legalize desegregation, it wasn't due to their infinite wisdom. It's because people whose names you do not read about in history books, people whose faces you will never see, were the ones who struggled and sacrificed, sometimes gave their lives, to make this country a more equal one. When, it's like those people don't make history, it's us.
If future history is not to be just one damned thing after another in space, then what we really have to do is in some way overcome this linear experience of time that makes all existence a quest for something that will never be found.And philosophies such as Zen seem to hint that this is possible.
There's always a pattern in order to make a thing, but the starting point must be something I've never seen before. It's not two-dimensional, but it's like a sample. I work with patterns like a sculptor. I try to get [the team] not to work on a body, [but] to work on a free space, on a table. The work is basically on flat surfaces.
History is full of people who thought they were right -- absolutely right, completely right, without a shadow of a doubt. And because history never seems like history when you are living through it, it is tempting for us to think the same.
The key strengths of civilizations are also their central weaknesses. You can see that from the fact that the golden ages of civilizations are very often right before the collapse. The Renaissance in Italy was very much like the Classic Maya. The apogee was the collapse. The Golden Age of Greece was the same thing. We see this pattern repeated continuously, and it is one that should make us nervous. I just heard Bill Gates say that we are living in the greatest time in history. Now you can understand why Bill Gates would think that, but even if he is right, that is an ominous thing to say.
He was what I often think is a dangerous thing for a statesman to be - a student of history; and like most of those who study history, he learned from the mistakes of the past how to make new ones.
I like to be the winner; I like to change. I like to make history.
Winning is contagious, you know its a thought. It's not something that just happens on Sundays. You know that's something, like you have to live like a winner. You have to think like a winner. You have to eat like a winner. Everything that you do with life, you gotta be a winner.
History is always written by the winners. When two cultures clash, the loser is obliterated, and the winner writes the history books-books which glorify their own cause and disparage the conquered foe. As Napoleon once said, 'What is history, but a fable agreed upon?
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