Quotes & Sayings About Memory In The Book Night

Pedaling down Dune Drive on a red beach cruiser, Dani ahead of her and Vanessa behind her, is a transporting experience. The night is quiet; the air on her face is soft; her hair streams behind her; the stars above are as brilliant as stars in a children's book. They could be nine years old, or fifteen, or twenty-one; they've ridden bikes down Dune Drive at all of those ages and all of the ones in between. There must have been so much more to those summers, but what she remembers are the two weeks she spent in Avalon with Dani and Vanessa - two weeks that always went by too quickly, but that in memory stretch to fill an entire season. — Meg Donohue

When the voice of your friend or the page of your book sinks into democratic equality with the pattern of the wallpaper, the feel of your clothes, your memory of last night, and the noises from the road, you are falling asleep. The highly selective consciousness enjoyed by fully alert men, with all its builded sentiments and consecrated ideals, has as much to be called real as the drowsy chaos, and more. — C.S. Lewis

I took in the thick night air, the sweet smell of honeysuckle, the chirping of frogs, to impress the moment in the folds of my memory, preserve it like a flower between pages of a book. To remember: This is how it feels to be happy. — Laura McHugh

One of my favorite first sentences of a
book is from Rebecca, Last night I dreamt
I went to Manderley again. — Daphne Du Maurier

So things remained until one day, many years later, I happened upon a line in a poem by Heine: "Death is the cooling night." That childhood memory, lost for so long, suddenly restored itself to my quivering heart, returning freshly washed, in limpid clarity, never again to leave me. If literature truly possesses a mysterious power, I think perhaps it is precisely this: that one can read a book by a writer of a different time, a different country, a different race, a different language, and a different culture and there encounter a sensation that is one's very own. Heine put into words the feeling I had as a child when I lay napping in the morgue. And that, I tell myself, is literature. — Yu Hua

free." On the edge of town, Fitzgerald saw a sight "that has never left my memory. It was a picture story of the death of one 82nd Airborne trooper. He had occupied a German foxhole and made it his personal Alamo. In a half circle around the hole lay the bodies of nine German soldiers. The body closest to the hole was only three feet away, a potato masher [grenade] in its fist.II The other distorted forms lay where they had fallen, testimony to the ferocity of the fight. His ammunition bandoliers were still on his shoulders, empty of M-1 clips. Cartridge cases littered the ground. His rifle stock was broken in two. He had fought alone and, like many others that night, he had died alone. "I looked at his dog tags. The name read Martin V. Hersh. I wrote the name down in a small prayer book I carried, hoping someday I would meet someone who knew him. I never did."34 — Stephen E. Ambrose

The homunculus narrator experiences everything backward - his first memory is Unverdorben's death. He has no control over Unverdorben's actions, nor access to his memories, but passively travels through life in reverse order. At first Unverdorben appears to us as a doctor, which strikes the narrator as quite a morbid occupation - patients shuffle into the emergency room, where staff suck medicines out of their bodies and rip off their bandages, sending them out into the night bleeding and screaming. But near the end of the book, we learn that Unverdorben was an assistant at Auschwitz, where he created life where none had been before - turning chemicals and electricity and corpses into living persons. Only now, thinks the narrator, does the world finally make sense. — Sean Carroll

When I met a truly beautiful girl, I would tell her that if she spent the night with me, I would write a novel or a story about her. This usually worked; and if her name was to be in the title of the story, it almost always worked. Then, later, when we'd passed a night of delicious love-making together, after she'd gone and I'd felt that feeling of happiness mixed with sorrow, I sometimes would write a book or story about her. Sometimes her character, her way about herself, her love-making, it sometimes marked me so heavily that I couldn't go on in life and be happy unless I wrote a book or a story about that woman, the happy and sad memory of that woman. That was the only way to keep her, and to say goodbye to her without her ever leaving. — Roman Payne

Women can go mad with insomnia.
The sleep-deprived roam houses that have lost their familiarity. With tea mugs in hand, we wander rooms, looking on shelves for something we will recognize: a book title, a photograph, the teak-carved bird
a souvenir from what place? A memory almost rises when our eyes rest on a painting's grey sweep of cloud, or the curve of a wooden leg in a corner. Fingertips faintly recall the raised pattern on a chair cushion, but we wonder how these things have come to be here, in this stranger's home.
Lost women drift in places where time has collapsed. We look into our thoughts and hearts for what has been forgotten, for what has gone missing. What did we once care about? Whom did we love? We are emptied. We are remote. Like night lilies, we open in the dark, breathe in the shadowy world. Our soliloquies are heard by no one. — Cathy Ostlere