Memorial Ornament Quotes

Over the years I'd lodged him in the permanent past, my pluperfect lover, put him on ice, stuffed him with memories and mothballs like a hunted ornament confabulating with the ghost of all my evenings. I'd dust him off from time to time and then put him back on the mantelpiece. He no longer belonged to earth or to life. All I was likely to discover at this point wasn't just how distant were the paths we'd taken, it was the measure of loss that was going to strike me--a loss I didn't mind thinking about in abstract terms but which would hurt when stared at in the face, the way nostalgia hurts long after we've stopped thinking of things we lost and may never have cared for.

The important thing for the remembering author is not what he experienced, but the weaving of his memory, the Penelope work of recollection. Or should one call it, rather, the Penelope work of forgetting? ... And is not his work of spontaneous recollection, in which remembrance is the woof and forgetting the warp, a counterpart to Penelope's work rather than its likeness? For here the day unravels what the night has woven. When we awake each morning, we hold in our hands, usually weakly and loosely, but a few fringes of the tapestry of a lived life, as loomed for us by forgetting. However, with our purposeful activity and, even more, our purposive remembering each day unravels the web and the ornaments of forgetting.

Withdraw, like a turtle, into a hard yet harmless shell, ornamented with beautiful memories of the past. from the book 'I Know Who You Are!

People who go through many spiritual changes retain some views and habits from earlier stages, which then jut out into their new thinking and acting like a bit of inexplicable antiquity and gray stonework, often ornamenting the whole region.

also toyed with The Anthemion which is the name of a honeysuckle ornament, consisting of elaborate interlacements and expanding clusters, but nobody liked it;

Withdraw, like a turtle, into a hard yet harmless shell, ornamented with beautiful memories of the past. from the book 'I Know Who You Are!

I have entered upon a performance which is without example, whose accomplishment will have no imitator. I mean to present my fellow-mortals with a man in all the integrity of nature; and this man shall be myself. I know my heart, and have studied mankind; I am not made like any one I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work. Whenever the last trumpet shall sound, I will present myself before the sovereign judge with this book in my hand, and loudly proclaim, thus have I acted; these were my thoughts; such was I. With equal freedom and veracity have I related what was laudable or wicked, I have concealed no crimes, added no virtues; and if I have sometimes introduced superfluous ornament, it was merely to occupy a void occasioned by defect of memory: I may have supposed that certain, which I only knew to be probable, but have never asserted as truth, a conscious falsehood. Such as I was, I have declared myself; sometimes vile and despicable, at others, virtuous, generous and sublime; even as thou hast read my inmost soul: Power eternal! assemble round thy throne an innumerable throng of my fellow-mortals, let them listen to my confessions, let them blush at my depravity, let them tremble at my sufferings; let each in his turn expose with equal sincerity the failings, the wanderings of his heart, and, if he dare, aver, I was better than that man.

one of the greatest gifts we all possess is the ability to give. Wealth isn’t a prerequisite; compassion and a kind heart are all you need. What better way to honor our loved ones, past and present, than to reach out and change a life for the better? And, the holidays are a perfect time to look outside of ourselves and be a true friend. A legacy of generosity can create memories that reverberate beyond the moment and outshine the brightest of heirloom ornaments.

As we decorate, it occurs to me that a Christmas tree holds so much more than ornaments. Resting on all those boughs is a treasure trove of memories that remain long after the tree is gone and Christmas itself is over for another year.

... a tiny room, furnished in early MFI, of which every surface was covered in china ornaments and plaster knick-knacks whose only virtue was that they were small, and therefore of limited individual horribleness. Cumulatively, they were like an infestation. Little vases, ashtrays, animals, shepherdesses, tramps, boots, tobys, ruined castles, civic shields of seaside towns, thimbles, bambis, pink goggle-eyed puppies sitting up and begging, scooped-out swans plainly meant to double as soap dishes, donkeys with empry panniers which ought to have held pin-cushions or perhaps bunches of violets -- all jostled together in a sad visual cacophony of bad taste and birthday presents and fading holiday memories, too many to be loved, justifying themselves by their sheer weight of numbers as 'collections' do.

From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world's fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content, And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world's due, by the grave and thee.

The Liberal still speaks, at least on formal occasions, of “eternal verities,” of “faith,” of “human dignity,” of man’s “high calling” or his “unquenchable spirit,” even of “Christian civilization”; but it is quite clear that these words no longer mean what they once meant. No Liberal takes them with entire seriousness; they are in fact metaphors, ornaments of language that are meant to evoke an emotional, not an intellectual, response—a response largely conditioned by long usage, with the attendant memory of a time when such words actually had a positive and serious meaning.

Perhaps we shall lose them, perhaps they will be obliterated, if we return to nothing in the dust. But so long as we are alive, we can no more bring ourselves to a state in which we shall not have known them than we can with regard to any material object, than we can, for example, doubt the luminosity of a lamp that has just been lighted, in view of the changed aspect of everything in the room, from which has vanished even the memory of the darkness. In that way Vinteuil's phrase, like some theme, say, in Tristan, which represents to us also a certain acquisition of sentiment, has espoused our mortal state, had endued a vesture of humanity that was affecting enough. Its destiny was linked, for the future, with that of the human soul, of which it was one of the special, the most distinctive ornaments. Perhaps it is not-being that is the true state, and all our dream of life is without existence; but, if so, we feel that it must be that these phrases of music, these conceptions which exist in relation to our dream, are nothing either. We shall perish, but we have for our hostages these divine captives who shall follow and share our fate. And death in their company is something less bitter, less inglorious, perhaps even less certain.

Even when he was not thinking of the little phrase, it existed latent in his mind on the same footing as certain other notions without material equivalent, such as our notions of light, of sound, of perspective, of physical pleasure, the rich possessions wherewith our inner temple is diversified and adorned. Perhaps we shall lose them, perhaps they will be obliterated, if we return to nothingness. But so long as we are alive, we can no more bring ourselves to a state in which we shall not have known them than we can with regard to any material object, than we can, for example, doubt the luminosity of a lamp that has just been lit, in view of the changed aspect of everything in the room, from which even the memory of the darkness has vanished. In that way Vinteuil's phrase, like some theme, say, in Tristan, which represents to us also a certain emotional accretion, had espoused our mortal state, had endued a vesture of humanity that was peculiarly affecting. Its destiny was linked to the future, to the reality of the human soul, of which it was one of the most special and distinctive ornaments. Perhaps it is not-being that is the true state, and all our dream of life is inexistent; but, if so, we feel that these phrases of music, these conceptions which exist in relation to our dream, must be nothing either. We shall perish, but we have as hostages these divine captives who will follow and share our fate. And death in their company is somehow less bitter, less inglorious, perhaps even less probable.

Dogs and roses. All these suburban houses bespangled with roses and bristling with dogs. A dog behind every rose bush. For people and their hellish imaginaries, dogs are as ornamental as roses. In reality, the roses are just as vicious as the dogs or an electrified fence. There are too many of them, they are too red, their carnivorous petals close on a forbidden space. The pleasantness of the residential suburbs, the pleasantness of the sarcophagi of greenery where the television aerials gleam. The pleasantness of aphanisis in the death-laden detached houses, set in a bower of lilacs and hollyhocks. The only sign of the frenzied urge to bite and fight, the only sign of the vitrified and howling passions beneath the film of plastic is the beast of the Apocalypse, barking on the horizon beyond the flower beds.

How was I ever going to explain to him, or to myself, why I couldn’t go to his home and meet his family, though every part of me was dying to? Oliver wife. Oliver sons. Oliver pets. Oliver study, desk, books, world, life. What had I expected? A hug, a handshake, a perfunctory hail-fellow-well-met, and then the unavoidable Later! ? The very possibility of meeting his family suddenly alarmed me—too real, too sudden, too in-my-face, not rehearsed enough. Over the years I’d lodged him in the permanent past, my pluperfect lover, put him on ice, stuffed him with memories and mothballs like a hunted ornament confabulating with the ghost of all my evenings. I’d dust him off from time to time and then put him back on the mantelpiece. He no longer belonged to earth or to life. All I was likely to discover at this point wasn’t just how distant were the paths we’d taken, it was the measure of loss that was going to strike me—a loss I didn’t mind thinking about in abstract terms but which would hurt when stared at in the face, the way nostalgia hurts long after we’ve stopped thinking of things we’ve lost and may never have cared for. Or was it that I was jealous of his family, of the life he’d made for himself, of the things I never shared and couldn’t possibly have known about? Things he had longed for, loved, and lost, and whose loss had crushed him, but whose presence in his life, when he had them, I wasn’t there to witness and wouldn’t know the first thing about. I wasn’t there when he’d acquired them, wasn’t there when he’d given them up. Or was it much, much simpler? I had come to see if I felt something, if something was still alive. The trouble was I didn’t want anything to be alive either.

In E-CENT counselling, we teach our clients to explore the stories they are living, which mainly come from their family of origin. Even some novelists understand this process, as illustrated by Donna Tartt, writing about the family of Charlotte Cleve: “…the Cleves loved to recount among themselves even the minor events of their family history – repeating word for word, with stylized narrative and rhetorical interruptions, entire death-bed scenes, or marriage proposals that had occurred a hundred years before… … (T)hese family discussions were how the Cleves made sense of the world. Even the cruellest and most random disasters … were constantly rehearsed among them, her grandmother’s gentle voice and her mother’s stern one merging harmoniously with her grandfather’s baritone and the babble of her aunts, and certain ornamental bits, improvised by daring soloists, eagerly seized upon and elaborated by the chorus, until finally, by group effort, they arrived together at a single song which was then memorized, and sung by the entire company again and again, which slowly eroded memory and came to take the place of truth”. Donna Tartt, 2003. The Little Friend, London: Bloomsbury. Pages 3-4.

Even when he was not thinking of the little phrase, it existed, latent, in his mind, in the same way as certain other conceptions without material equivalent, such as our notions of light, of sound, of perspective, of bodily desire, the rich possessions wherewith our inner temple is diversified and adorned. Perhaps we shall lose them, perhaps they will be obliterated, if we return to nothing in the dust. But so long as we are alive, we can no more bring ourselves to a state in which we shall not have known them than we can with regard to any material object, than we can, for example, doubt the luminosity of a lamp that has just been lighted, in view of the changed aspect of everything in the room, from which has vanished even the memory of the darkness. In that way Vinteuil’s phrase, like some theme, say, in Tristan, which represents to us also a certain acquisition of sentiment, has espoused our mortal state, had endued a vesture of humanity that was affecting enough. Its destiny was linked, for the future, with that of the human soul, of which it was one of the special, the most distinctive ornaments. Perhaps it is not-being that is the true state, and all our dream of life is without existence; but, if so, we feel that it must be that these phrases of music, these conceptions which exist in relation to our dream, are nothing either. We shall perish, but we have for our hostages these divine captives who shall follow and share our fate. And death in their company is something less bitter, less inglorious, perhaps even less certain.

Now I myself, I cheerfully admit, feel that enormity in Kensington Gardens as something quite natural. I feel it so because I have been brought up, so to speak, under its shadow; and stared at the graven images of Raphael and Shakespeare almost before I knew their names; and long before I saw anything funny in their figures being carved, on a smaller scale, under the feet of Prince Albert. I even took a certain childish pleasure in the gilding of the canopy and spire, as if in the golden palace of what was, to Peter Pan and all children, something of a fairy garden. So do the Christians of Jerusalem take pleasure, and possibly a childish pleasure, in the gilding of a better palace, besides a nobler garden, ornamented with a somewhat worthier aim. But the point is that the people of Kensington, whatever they might think about the Holy Sepulchre, do not think anything at all about the Albert Memorial. They are quite unconscious of how strange a thing it is; and that simply because they are used to it. The religious groups in Jerusalem are also accustomed to their coloured background; and they are surely none the worse if they still feel rather more of the meaning of the colours. It may be said that they retain their childish illusion about their Albert Memorial. I confess I cannot manage to regard Palestine as a place where a special curse was laid on those who can become like little children. And I never could understand why such critics who agree that the kingdom of heaven is for children, should forbid it to be the only sort of kingdom that children would really like; a kingdom with real crowns of gold or even of tinsel. But that is another question, which I shall discuss in another place; the point is for the moment that such people would be quite as much surprised at the place of tinsel in our lives as we are at its place in theirs. If we are critical of the petty things they do to glorify great things, they would find quite as much to criticise (as in Kensington Gardens) in the great things we do to glorify petty things. And if we wonder at the way in which they seem to gild the lily, they would wonder quite as much at the way we gild the weed.

Perhaps I ought to stuff up these sleeping things and go to bed. But I’m still too wide awake I’d only writhe about. If I had got him on the phone if we’d talked pleasantly I should have calmed down. He doesn’t give a fuck. Here I am torn to pieces by heartbreaking memories I call him and he doesn’t answer. Don’t bawl him out don’t begin by bawling him out that would muck up everything. I dread tomorrow. I shall have to be ready before four o’clock I shan’t have had a wink of sleep I’ll go out and buy petits fours that Francis will tread into the carpet he’ll break one of my little ornaments he’s not been properly brought up that child as clumsy as his father who’ll drop ash all over the place and if I say anything at all Tristan will blow right up he never let me keep my house as it ought to be yet after all it’s enormously important. Just now it’s perfect the drawing room polished shining like the moon used to be. By seven tomorrow evening it’ll be utterly filthy I’ll have to spring-clean it even though I’ll be all washed out. Explaining everything to him from a to z will wash me right out. He’s tough. What a clot I was to drop Florent for him! Florent and I we understood one another he coughed up I lay on my back it was cleaner than those capers where you hand out tender words to one another. I’m too softhearted I thought it was a terrific proof of love when he offered to marry me and there was Sylvie the ungrateful little thing I wanted her to have a real home and a mother no one could say a thing against a married woman a banker’s wife. For my part it gave me a pain in the ass to play the lady to be friends with crashing bores. Not so surprising that I burst out now and then. “You’re setting about it the wrong way with Tristan” Dédé used to tell me. Then later on “I told you so!” It’s true I’m headstrong I take the bit between my teeth I don’t calculate. Maybe I should have learned to compromise if it hadn’t been for all those disappointments. Tristan made me utterly sick I let him know it. People can’t bear being told what you really think of them. They want you to believe their fine words or at least to pretend to. As for me I’m clear-sighted I’m frank I tear masks off. The dear kind lady simpering “So we love our little brother do we?” and my collected little voice: “I hate him.” I’m still that proper little woman who says what she thinks and doesn’t cheat. It made my guts grind to hear him holding forth and all those bloody fools on their knees before him. I came clumping along in my big boots I cut their fine words down to size for them—progress prosperity the future of mankind happiness peace aid for the underdeveloped countries peace upon earth. I’m not a racist but don’t give a fuck for Algerians Jews Negroes in just the same way I don’t give a fuck for Chinks Russians Yanks Frenchmen. I don’t give a fuck for humanity what has it ever done for me I ask you. If they are such bleeding fools as to murder one another bomb one another plaster one another with napalm wipe one another out I’m not going to weep my eyes out. A million children have been massacred so what? Children are never anything but the seed of bastards it unclutters the planet a little they all admit it’s overpopulated don’t they? If I were the earth it would disgust me, all this vermin on my back, I’d shake it off. I’m quite willing to die if they all die too. I’m not going to go all soft-centered about kids that mean nothing to me. My own daughter’s dead and they’ve stolen my son from me.

My father had a sister, Mady, who had married badly and ‘ruined her life.’ Her story was a classic. She had fallen in love before the war with an American adventurer, married him against her family’s wishes, and been disinherited by my grandfather. Mady followed her husband romantically across the sea. In America he promptly abandoned her. By the time my parents arrived in America Mady was already a broken woman, sick and prematurely old, living a life two steps removed from destitution. My father, of course, immediately put her on an allowance and made her welcome in his home. But the iron laws of Victorian transgression had been set in motion and it was really all over for Mady. You know what it meant for a woman to have been so disgraced and disinherited in those years? She had the mark of Cain on her. She would live, barely tolerated, on the edge of respectable society for the rest of her life. A year after we arrived in America, I was eleven years old, a cousin of mine was married out of our house. We lived then in a lovely brownstone on New York’s Upper West Side. The entire house had been cleaned and decorated for the wedding. Everything sparkled and shone, from the basement kitchen to the third-floor bedrooms. In a small room on the second floor the women gathered around the bride, preening, fixing their dresses, distributing bouquets of flowers. I was allowed to be there because I was only a child. There was a bunch of long-stemmed roses lying on the bed, blood-red and beautiful, each rose perfection. Mady walked over to them. I remember the other women were wearing magnificent dresses, embroidered and bejeweled. Mady was wearing only a simple white satin blouse and a long black skirt with no ornamentation whatever. She picked up one of the roses, sniffed deeply at it, held it against her face. Then she walked over to a mirror and held the rose against her white blouse. Immediately, the entire look of her plain costume was altered; the rose transferred its color to Mady’s face, brightening her eyes. Suddenly, she looked lovely, and young again. She found a long needle-like pin and began to pin the rose to her blouse. My mother noticed what Mady was doing and walked over to her. Imperiously, she took the rose out of Mady’s hand and said, ‘No, Mady, those flowers are for the bride.’ Mady hastily said, ‘Oh, of course, I’m sorry, how stupid of me not to have realized that,’ and her face instantly assumed its usual mask of patient obligation. “I experienced in that moment an intensity of pain against which I have measured every subsequent pain of life. My heart ached so for Mady I thought I would perish on the spot. Loneliness broke, wave after wave, over my young head and one word burned in my brain. Over and over again, through my tears, I murmured, ‘Unjust! Unjust!’ I knew that if Mady had been one of the ‘ladies’ of the house my mother would never have taken the rose out of her hand in that manner. The memory of what had happened in the bedroom pierced me repeatedly throughout that whole long day, making me feel ill and wounded each time it returned. Mady’s loneliness became mine. I felt connected, as though by an invisible thread, to her alone of all the people in the house. But the odd thing was I never actually went near her all that day. I wanted to comfort her, let her know that I at least loved her and felt for her. But I couldn’t. In fact, I avoided her. In spite of everything, I felt her to be a pariah, and that my attachment to her made me a pariah, also. It was as though we were floating, two pariahs, through the house, among all those relations, related to no one, not even to each other. It was an extraordinary experience, one I can still taste to this day. I was never again able to address myself directly to Mady’s loneliness until I joined the Communist Party. When I joined the Party the stifled memory of that strange wedding day came back to me. . .

Some of us are more zealous than others, but every one of us knows that friend or relative who starts planning next year's Christmas sometime around January, who shops for ornaments on sale at the beach....

One of my favorite memories with the tree is when the Eldest was young. When the Eldest was only two or so, she wanted to hang all the ornaments in one spot on the tree. And, she tried her very best to do so. I tried to move the ornaments around, but, being smart like she is, well, she noticed. And, then she complained. So, I let it be.” —Violet Lapp, The Circle

The question of images had an important place in the Council called and presided over by Charlemagne at Frankfurt (794).[27] Both civil and ecclesiastical rulers were present, so that it legislated on all matters. The Pope sent his representatives. The decisions of the Second Council of Nicaea, which had established the service and adoration of the images, were set aside, though they had been confirmed by the Pope and accepted in the East. In their zeal for images, those who favoured their use went so far as to call their opponents, not only iconoclasts, but also Mohammedans. Nevertheless it was laid down in Frankfurt that all worship of images was to be rejected; there was to be no adoration, worship, reverence, veneration of them; no kneeling, burning of lights or offering of incense before them, nor any kissing of lifeless images, even though representing the Virgin and the Child; but images might be allowed in churches as ornaments and as memorials of pious men and pious deeds.

Don Quixote is thus in part a postscript to the history of a first-rate place, the most poignant lament over the loss of that universe, its last chapter, allusive, ironic, bittersweet, quixotic. It is perhaps the last, the best, the most subtle of the Spanish memory palaces. Its incomparable Castilian is the direct descendant of the Castilian first forged out of the little groups of Muslims, Christians, and Jews who worked together in Toledo to translate that magnificent Arabic library first into Latin and then into Castilian, which was the mother tongue of all of them...

Salutations to Shiva who wears live cobras for ornaments, who rides the white bull, Nandi, the consort of Parvati. Salutations to Shiva, who, intoxicated smoking cannabis, dances madly with ghosts, goblins, and other unclean spirits who are his beloved companions, as he chants the holy name of the Goddess.

One of the great attractions of the seder were the different wine glasses reserved for everybody year to year. The children had small blue or green or yellow glasses, with little handles. As one grew older, one advanced to a bigger ornamental glass, or a different color. Since every celebrant was supposed to drink four glasses, the parents made sure the children should not get tipsy. There was laughter and merriment about the prophet Elijah. His glass stood filled all evening and at one time, during the seder, one opens the door for Elijah to appear.

The contrast between the two was conspicuous in ways not dissimilar to that between the two cemeteries at Monticello. There were far fewer tombstones at the People’s Memorial Cemetery than at Blandford, and those there were indiscriminately scattered across the brown grass. There were no flags ornamenting the graves. There were no hourly tours available for people to remember the dead. There was history, but also silence.

Often, when I'm with her I have a tingling sensation of the present moment, even- or especially- when she reaches into her remarkable memory for tales of long-gone times. She has always rejected the idea of eternity, and even the idea of living, like Wells and Gorky, for future generations, in favor of living in the here and now. "The most ferocious immanance," she called it... the hours of its operation mattered to her. She wished to know precisely when the water gushed and when it lay still. She watches the world and herself in the world (mind, body, feelings) with great intensity. "I always wanted to know myself before I die," she writes. "I worship time! I cherish it!" she told me now. "As a child, I felt it, the weight of time.

I tell them one of the greatest gifts we all possess is the ability to give. Wealth isn’t a prerequisite; compassion and a kind heart are all you need. What better way to honor our loved ones, past and present, than to reach out and change a life for the better? And, the holidays are a perfect time to look outside of ourselves and be a true friend. A legacy of generosity can create memories that reverberate beyond the moment and outshine the brightest of heirloom ornaments.

As sometimes happened following a visit to Kent, the city had a chill to it that went beyond a sense of the air outside. Though Maisie loved her flat in Pimlico, there was a warmth to her father's cottage, to being at Chelstone, that made her feel cocooned and safe. And she felt wanted. That flat was hers to do with as she wished, and to do exactly as she pleased within those walls, but sometimes she felt it still held within it the stark just-moved-in feeling that signaled the difference between a house and a home. Of course, it still was not fully furnished, and there were no ornaments displayed - a vase, perhaps, that a visitor might comment upon and the hostess would say, "Oh, that was a gift, let me tell you about it..." There were no stories attached to the flat - but how could there be, when she was always alone in her home. There were no family photographs, no small framed portraits on the mantelpiece over the fire in the sitting room as there were at her father's house. She thought the flat would be all the better for some photographs, not only to serve as reminders of those who were loved, or reflections of happy times spent in company, but to act as mirrors, where she might see the affection with which she was held by those dear to her. A mirror in which she could see her connections. ... Most of the time, thought, she was not lonely, just on her own, an unmarried woman of independent means, even when the extent of the means - or lack thereof - sometimes gave her cause to remain awake at night. She knew the worries that came to the fore at night were the ones you had to pay attention to, for they blurred reasoned thought, sucked clarity from any consideration of one's situation, and could lead a mind around in circles, leaving one drained and ill-tempered. And if there was no one close with whom to discuss those concerns, they grew in importance in the imagination, whether were rooted in good sense or not. ... She wondered if one could take leave of one's senses, even if one had no previous occasions of mental incapacity, simply by being isolated from others. Is that what pushed the man over the edge of all measured thought? Were his thoughts so distilled, without the calibrating effect of a normal life led among others, that he ceased to recognize the distinction between right and wrong, between good and evil, or between having a voice and losing it? And if that were so, might an ordinary woman living alone with her memories, with her work, with the walls of her flat drawing in upon her, be at some risk of not seeing the world as it is?

With Beijing Memory No. 5, what is uncanny is that the “machine” refuses to come to life, and in its lifelessness, imagines what life might have been. And it is in this very paradox of “might have been” that we experience the prospective and prosthetic quality of our ontology.

It is not only that bodies can leave their residue in the things they produce (an insight that object studies has taught us), but also that objectness reveals the divergent, layered, and sometimes annihilating gestures that can make up personhood. More than memorializing bodies that might otherwise not be remembered, Li’s porcelain woman explores what it would mean to instantiate through excess materiality the dematerialized nonbody.

My Harold gave me this on our first Christmas Eve for our first tree. It's hung on every tree we had. Until the year he died. I couldn't put it up anymore without him. It's time for this special ornament to find a new happy home to belong; to see new memories being created; and maybe someday be passed on to future generations. It's time for my grandson and his new bride to cherish this ornament, now.

Chavín images, by contrast, are not for the uninitiated. Crested eagles curl in on themselves, vanishing into a maze of ornament; human faces grow snake-like fangs, or contort into a feline grimace. No doubt other figures escape our attention altogether. Only after some study do even the most elementary forms reveal themselves to the untrained eye. With due attention, we can eventually begin to tease out recurrent images of tropical forest animals – jaguars, snakes, caimans – but just as the eye attunes to them they slip back from our field of vision, winding in and out of each other’s bodies or merging into complex patterns.51 Some of these images are described by scholars as ‘monsters’, but they have nothing in common with the simple composite figures of ancient Greek vases or Mesopotamian sculpture – centaurs, griffins and the like – or their Moche equivalents. We are in another kind of visual universe altogether. It is the realm of the shape-shifter, where no body is ever quite stable or complete, and diligent mental training is required to tease out structure from what at first seems to be visual mayhem. One reason why we can say any of this with a degree of confidence is because the arts of Chavín appear to be an early (and monumental) manifestation of a much wider Amerindian tradition, in which images are not meant to illustrate or represent, but instead serve as visual cues for extraordinary feats of memory.

You have the microwave and I’ll have the ornamental frog, you bastard! No, I want the frog, you bitch – you never loved it like I did!

He took memory sticks and an external drive from his desk, and cables from the mess on the floor. Pike loaded his gear into the backpack, and we made our way toward the garage. Pike stopped when we reached the living room. “The fish.” The aquarium stood on its stand, bubbling. I said, “What about them?” Tyson said, “We gotta feed them.” We waited while Pike fed the fish, then followed him into the garage. The walls were lined with gray metal shelving units. The shelves were crowded with different-sized boxes and the clutter that accumulates as time passes, and more boxes were stacked on the floor in front of the shelves. Handwriting identified their contents: Christmas/ornaments, Christmas/lights, Tyson—baby clothes, Mom’s lamp. Pike pointed out a small black box clipped to the outside of the garage door’s track, up high by the ceiling and difficult to see. “Transmitter.

Christmas tree holds so much more than ornaments. Resting on all those boughs is a treasure trove of memories that remain long after the tree is gone and Christmas itself is over for another year.

As we decorate, it occurs to me that a Christmas tree holds so much more than ornaments. Resting on all those boughs is a treasure trove of memories that remain long after the tree is gone and Christmas itself is over for another year.

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