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.
Some will remember an image of a fire or story or rescue. Some will carry memories of a face and a voice gone forever. And I will carry this. It is the police shield of a man named George Howard who died at the World Trade Center trying to save others. It was given to me by his mom, Arlene, as a proud memorial to her son. It is my reminder of lives that ended and a task that does not end.
Looking across this field, we see the scale of heroism and sacrifice. All who are buried here understood their duty. All stood to protect America. And all carried with them memories of a family that they hope to keep safe by their sacrifice.
The sea can bind us to her many moods, whispering to us by the subtle token of a shadow or a gleam upon the waves, and hinting in these ways of her mournfulness or rejoicing. Always she is remembering old things, and these memories, though we may not grasp them, are imparted to us, so that we share her gaiety or remorse.
The scenes and events of long ago, and the persons who took part in them, wear a charming aspect to the eye of memory, which sees only the outlines and takes no note of disagreeable details. The present enjoys no such advantage, and so it always seems defective.
Now, we have inscribed a new memory alongside those others. It's a memory of tragedy and shock, of loss and mourning. But not only of loss and mourning. It's also a memory of bravery and self-sacrifice, and the love that lays down its life for a friend-even a friend whose name it never knew.
O thou that dost inhabit in my breast, leave not the mansion so long tenantless; lest, growing ruinous, the building fall and leave no memory of what it was!
There are many books which we think we have read when we have not. There are, at least, many that we think we remember when we do not. An original picture was, perhaps, imprinted upon the brain, but it has changed with our own changing minds. We only remember our remembrance.
He began to search among the infinite series of impressions which time had laid down, leaf upon leaf, fold upon fold softly, incessantly upon his brain; among scents, sounds; voices, harsh, hollow, sweet; and lights passing, and brooms tapping; and the wash and hush of the sea.
A man is the prisoner of his power. A topical memory makes him an almanac; a talent for debate, disputant; skill to get money makes him a miser, that is, a beggar. Culture reduces these inflammations by invoking the aid of other powers against the dominant talent, and by appealing to the rank of powers. It watches success.
We see daily that our lives are terrible and little, without continuity, buyable and salable at any moment, mere blips on a screen, that this is the way we live now. Memory marketed as nostalgia; terror reduced to mere suspense, to melodrama.
All propaganda must be confined to a few bare necessities and then must be expressed in a few stereotyped formulas . . . Only constant repetition will finally succeed in imprinting an idea upon the memory of a crowd.
All empty souls tend to extreme opinion. It is only in those who have built up a rich world of memories and habits of thought that extreme opinions affront the sense of probability. Propositions, for instance, which set all the truth upon one side can only enter rich minds to dislocate and strain, if they can enter at all, and sooner or later the mind expels them by instinct.