memory

And afterwards, if you had asked any of the survivors how they had managed it, they would not have been able to tell you. It was as if those days in the forest, the escape to the city, had passed in a trance. The mind creates an alternative state.

Her address book confirmed it, the pages inhabited equally by the living and the dead....Each name called up raucous dinner parties and gin-and-tonics on sunny patios, lazy Saturday afternoons at the swim club, station wagons filled with noisy boys in polyester baseball uniforms.

And be thinking, remembering. Trying to. All difficult dark stuff, stories stuffed away, like old socks into old pillowcases. Not quite knowing the weight of truth in them much more. And things that I have let be a long time in the interests of happiness, or at least that daily contentment that I was once I do believe mistress of

[Memory]... is a system of near-infinite complexity, a system that seems designed for revision as much as for replication, and revision unquestionably occurs. Details from separate experiences weave together, so that the rememberer thinks of them as having happened together. The actual year or season or time of day shifts to a different one. Many details are lost, usually in ways that serve the self in its present situation, not the self of ten or twenty or forty years ago when the remembered event took place. And even the fresh memory, the 'original,' is not reliable in a documentary sense....Memory, in short, is not a record of the past but an evolving myth of understanding the psyche spins from its engagement with the world.

A meaningful relationship between two people cannot sustain itself only in the present tense.

The soft strings of the lute rippled with memories, and the maid's lilting voice made Mary sigh as she closed her eyes. She fell asleep filled with sadness, but without regret.

It was clear that he didn't remember me from one day to the next. The note clipped to his sleeve simply informed him that it was not our first meeting, but it could not bring back the memory of the time we had spent together.

You__e with a girl. She__ brown-haired and side-swept. I imagine that she__ the kind of girl who can easily shop for jean shorts, and speaks kindly more often than not. She seems like the kind of girl who hates New York City because it wreaks havoc on her shoes (really she just thinks it__ a big and scary place), but once had the time of her life in Spain on a backpacking trip when she was 23. Her gaze is focused on the embracing couple as near strangers capable of judgement. She stands bolted next to you like you__e her anchor in the social storm.You two seem finely matched_ but what do I know? (Nothing at all.)I accidentally saw a picture of you and it reminded me that I was dating a man rightfully shaking his fist at God, while trying to hold my hand with the other. I was reminded of how fiercely we tried to hold our relationship together, and how devastated and relieved we were in its destruction. There__ water under that bridge.I accidentally saw a picture of you. No big deal. I wrote about it.

He liked the fragility of those moments suspended in time. Those memories whose only function is to leave just a trace in memory.

True stories can't be told forward, only backward. We invent them from the vantage point of an ever-changing present and tell ourselves how they unfolded.

Each of us, I think, adopts a comfortable and familiar era or place in which to plant ourselves; and from then on, that which disagrees with our memories -- a new building here, a change in paint there -- is forever jarring and anachronistic.

Just as the room of the Inquisitor in Dr. Talos's play, with its high judicial bench, lurked somewhere at the lowest level of the House Absolute, so we have each of us in the dustiest cellars of our minds a counter at which we strive to repay the debts of the past with the debased currency of the present.

I'm thinking about past events. I'm interested in recall, exact recall, of what was said, who said it and to whom. I want to know the truth, undistorted by time and revision and wishes and regrets.

But you play that passage like it's the -memory- of love. You're so young, yet you know desertion, abandonment. That's why you play that third movement the way you do. Most cellists, they play it with joy. But for you, it's not about joy, it's about the memory of a joyful time that's gone for ever.

Events, once happened, lose reality, alter with a glance, a storm, a night. In time, the past never happened. But who could know? Who could know that the past is not as solid as this instant_

...I still cannot tap on your walls and discover by the hollow or firm sounds which of your walls are merely decorative, and which ones hold everything up.

Over the last few millennial, we've invented a series of technologies _ that have made it progressively easier and easier for us to externalize our memories, for us to outsource this fundamental human capacity.

A curiosity: my name, Rem, will someday come to mean a line of text in a language spoken only by machines. Specifically, it will mean a line that the machines can safely ignore--one that's only there as a mnemonic, a placeholder, for the people who give the machines their orders. A REM line might say something like "this bit is a self-contained sub loop" or "Steve Perlman in Marketing is a shit." The program as a whole rolls on past and around the REM lines, ignores them completely as it takes its shape, moves through its pre-ordained sequences, unfolds its wonders. My mother named me well.