The whiff of ocean on the southern breeze and the smell of burning asphalt brought back memories of summers past. It had seemed as though those sweet dreams of summer would last forever: the warmth of a girl’s skin, an old rock ‘n’ roll song, freshly washed button-down shirt, the odor of cigarette smoke in a pool changing room, a fleeting premonition. Then one summer (when had it been?) the dreams had vanished, never to return.
― Haruki Murakami, Hear the Wind Sing
I visit him a few times downtown
while he paints.
We talk about how he’s going to Spain
for the fall semester
and he shows me a painting he did
and points to this one part,
a bridge, and tells me he thought of me
when he painted it.
It is so sad
how knowing something
can make me so happy.
― Samantha Schutz, I Don’t Want To Be Crazy
Fireworks, Vernon Bridge, Theodore Earl Butler, 1908
For all the pain you suffered, my mama. For all the torment of your past and future years, my mama. For all the anguish this picture of pain will cause you. For the unspeakable mystery that brings good fathers and sons into the world and lets a mother watch them tear at each other’s throats. For the Master of the Universe, whose suffering world I do not comprehend. For dreams of horror, for nights of waiting, for memories of death, for the love I have for you, for all the things I remember, and for all the things I should remember but have forgotten, for all these I created this painting—an observant Jew working on a crucifixion because there was no aesthetic mold in his own religious tradition into which he could pour a painting of ultimate anguish and torment.
― Chaim Potok, My Name Is Asher Lev
I thought of that lost book and all the memories it held and how it was just one of millions of objects in the world loaded with secret history which pass hands until eventually they excite nothing more than mild curiosity or, often, complete apathy. It was like all the sadness and loneliness of life resided in these objects. I realised the moment anything loses its context it becomes a husk.
Stories are a kind of thing, too. Stories and objects share something, a patina. I thought I had this clear, two years ago before I started, but I am no longer sure how this works. Perhaps a patina is a process of rubbing back so that the essential is revealed, the way that a striated stone tumbled in a river feels irreducible, the way that this netsuke of a fox has become little more than a memory of a nose and a tail. But it also seems additive, in the way that a piece of oak furniture gains over years and years of polishing, and the way the leaves of my medlar shine.
― Edmund de Waal, The Hare With Amber Eyes: A Family’s Century of Art and Loss
Imagine all the people you meet in your life. There are so many. They come in like waves, trickling in and out with the tide. Some waves are much bigger and make more of an impact than others. Sometimes the waves bring with them things from deep in the bottom of the sea and they leave those things tossed onto the shore. Imprints against the grains of sand that prove the waves had once been there, long after the tide recedes.
The structure of the house was hierarchical, with my grandfather at the top, but its secret life – the life of pie crusts, clean sheets, the box of rags in the linen closet, the loaves in the oven – was female. The house, and all the objects in it, crackled with static electricity; undertows washed through it, the air was heavy with things that were known but not spoken. Like a hollow log, a drum, a church, it amplified, so that conversations whispered in it sixty years ago can be half-heard even today.
― Margaret Atwood, “Significant Moments in the Life of My Mother”, Bluebeard’s Egg
We have a few old mouth-to-mouth tales; we exhume from old trunks and boxes and drawers letters without salutation or signature, in which men and women who once lived and breathed are now merely initials or nicknames out of some now incomprehensible affection which sound to us like Sanskrit or Chocktaw; we see dimly people, the people in whose living blood and seed we ourselves lay dormant and waiting, in this shadowy attenuation of time possessing now heroic proportions, performing their acts of simple passion and simple violence, impervious to time and inexplicable.
Many African societies divide humans into three categories: those still alive on the earth, the sasha, and the zamani. The recently departed whose time on earth overlapped with people still here are the sasha, the living-dead. They are not wholly dead, for they still live in the memories of the living, who can call them to mind, create their likeness in art, and bring them to life in anecdote. When the last person to know an ancestor dies, that ancestor leaves the sasha for the zamani, the dead. As generalised ancestors, the zamani are not forgotten but revered. Many … can be recalled by name. But they are not the living-dead. There is a difference.
― James Loewen, Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong