There’s only one thing we can be sure of, and that is the love that we have -- for our children, for our families, for each other. The warmth of a small child’s embrace -- that is true. The memories we have of them, the joy that they bring, the wonder we see through their eyes, that fierce and boundless love we feel for them, a love that takes us out of ourselves, and binds us to something larger -- we know that’s what matters. We know we’re always doing right when we’re taking care of them, when we’re teaching them well, when we’re showing acts of kindness. We don’t go wrong when we do that.
We die to each other daily. What we know of other people is only our memory of the moments during which we knew them. And they have changed since then. To pretend that they and we are the same is a useful and convenient social convention which must sometimes be broken. We must also remember that at every meeting we are meeting a stranger.
It is in dreams that I have known the real clutch of stark, hideous, maddening, paralysing fear. My infant nightmares were classics, & in them there is not an abyss of agonising cosmic horror that I have not explored. I don't have such dreams now - but the memory of them will never leave me. It is undoubtedly from them that the darkest & most gruesome side of my fictional imagination is derived.
Tsars and slaves, the intelligent and the obtuse, publicans and pharisees all have an identical legal and moral right to honor the memory of the deceased as they see fit, without regard for anyone else's opinion and without the fear of hindering one another.
When she (my mother) passed away, I kind of understood the commitment that she made to make sure that I could stay in skating. And I wanted to live up to whatever I could. Not so much win everything, but just to be the best that I could possibly be, to honor her memory and everything she went through to make sure that I was given the opportunities to be the best that I can be. Not to be a world champion or an Olympic gold medalist, but to be the best that I could be. And that was the most important thing that ever happened in my career.
Smiling with pleasure, they went through their memories, not sad, old people's memories, but poetic, youthful ones, those impressions from the very distant past where dream merges with reality, and they laughed softly, rejoicing at something.
There is never any ending to Paris and the memory of each person who has lived in it differs from that of any other. We always returned to it no matter who we were or how it was changed or with what difficulties, or ease, it could be reached. Paris was always worth it and you received return for whatever you brought to it. But this is how Paris was in the early days when we were very poor and very happy.
Perhaps there may come into my art also, no less than into my life, a still deeper note, one of greater unity of passion, and directness of impulse. Not width but intensity is the true aim of modern art. We are no longer in art concerned with the type. It is with the exception that we have to do. I cannot put my sufferings into any form they took, I need hardly say. Art only begins where Imitation ends, but something must come into my work, of fuller memory of words perhaps, of richer cadences, of more curious effects, of simpler architectural order, of some aesthetic quality at any rate.
We carry about us the burden of what thousands of people have said and the memories of all our misfortunes. To abandon all that is to be alone, and the mind that is alone is not only innocent but young -- not in time or age, but young, innocent, alive at whatever age -- and only such a mind can see that which is truth and that which is not measurable by words.
Memory is the seamstress, and a capricious one at that. Memory runs her needle in and out, up and down, hither and thither. We know not what comes next, or what follows after. Thus, the most ordinary movement in the world, such as sitting down at a table and pulling the inkstand towards one, may agitate a thousand odd, disconnected fragments, now bright, now dim, hanging and bobbing and dipping and flaunting, like the underlinen of a family of fourteen on a line in a gale of wind.
I should dread to disfigure the beautiful ideal of the memories of illustrious persons with incongruous features, and to sully the imaginative purity of classical works with gross and trivial recollections.