Nostalgia Is Dangerous Quotes

Nostalgia is also a dangerous form of comparison. Think about how often we compare our lives to a memory that nostalgia has so completely edited that it never really existed.

Nostalgia was like a disease, one that crept in and stole the colour from the world and the time you lived in. Made for bitter people. Dangerous people, when they wanted back what never was.

Nostalgia is a dangerous drug, but I enjoy the sensation of happier memories flooding my mind.

Growing up, I always had a soldier mentality. As a kid I wanted to be a soldier, a fighter pilot, a covert agent, professions that require a great deal of bravery and risk and putting oneself in grave danger in order to complete the mission. Even though I did not become all those things, and unless my predisposition, in its youngest years, already had me leaning towards them, the interest that was there still shaped my philosophies. To this day I honor risk and sacrifice for the good of others - my views on life and love are heavily influenced by this.

He smelled of dangerous adventures and coming home, of heartache and nostalgia.

As I look back on the trip now, as I try to sort out fact from fiction, try to remember how I felt at that particular time, or during that particular incident, try to relive those memories that have been buried so deep, and distorted so ruthlessly, there is one clear fact that emerges from the quagmire. The trip was easy. It was no more dangerous than crossing the street, or driving to the beach, or eating peanuts. The two important things that I did learn were that you are as powerful and strong as you allow yourself to be, and that the most difficult part of any endeavor is taking the first step, making the first decision. And I knew even then that I would forget them time and time again and would have to go back and repeat those words that had become meaningless and try to remember. I knew even then that, instead of remembering the truth of it, I would lapse into a useless nostalgia. Camel trips, as I suspected all a long, and as I was about to have confirmed, do not begin or end, they merely change form.

The danger of restorative nostalgia lies in its belief that the mutilated 'wholeness' of the body politic can be repaired. But the reflective nostalgic understands deep down that loss is irrecoverable: Time wounds all wholes. To exist in Time is to suffer through an endless exile, a successive severing from those precious few moments of feeling at home in the world. In pop terms, Morrissey is the supreme poet of reflective nostalgia.

Nostalgia is my favorite emotion. It's like, you think you know how to deal with the passage of time, but nostalgia will prove you wrong. You'll press your face into an old sweatshirt, or you'll look at a familiar shade of paint on a front door, and you'll be reminded of all the time that got away from you. If you could live it all again, you'd take a long moment to look around, to examine knees against knees. Nostalgia puts you in this dangerous re-creation of something you can never have again. It's ruthless, and for the most part, inaccurate.

Something about the way he had avoided looking directly at me despite his gracious manner made me think he could go from funny to dangerous in the blink of an eye.

His eyesight was possessed by the colours of trauma, cracking and bubbling like an old Super Eight film to remind him of his near-death drowning some two months ago in that very moment when he needed to act.

What makes this constant assessing and comparing so self-defeating is that we are often comparing our lives, our marriages, our families, and our communities to unattainable, media-driven visions of perfection, or we’re holding up our reality against our own fictional account of how great someone else has it. Nostalgia is also a dangerous form of comparison.

That was the danger of nostalgia, Drizzt realized. One often remembered the good of the past while forgetting the troubles.

While Otto ran here and there, carefully choosing places to urinate, I felt over every inch of my body the scratches of sexual abandonment, the danger of drowning in scorn for myself and nostalgia for him. I got up and went back along the path; I whistled again, and waited for Otto to return.

Get caught up by life and follow it wherever it might lead you. Nostalgia was dangerous, it was in league with the past against you. And against life. For you can’t live in the past. There is no way back there.

Nostalgia is also a dangerous form of comparison. Think about how often we compare ourselves and our lives to a memory that nostalgia has so completely edited that it never really existed: “Remember when … ? Those were the days …

Someday, with the right man in the White House, there will be a Department of Jesus, yes and a Secretary of Jesus.… Dismantle the New Deal, reverse the effects of World War II, restore fascism at home and around the world, flee into the past, can’t you feel it, all the dangerous childish stupidity—“I don’t like the way it came out, I want it to be my way.

And if someone were to ask, Noah, what’s the most important aspect of story? I would most likely answer, character, but I’m not sure that’s true, because my favorite books contain my favorite places. I do not say, I love Harry Potter, or I love Frodo Baggins; I say, I love Hogwarts, and I love Middle-earth. Thoreau’s Walden is less about the book, more about the pond. The woods. And so setting, I think, is the secret weapon of storytelling. I always want to meet new people until I’ve met them. I think if I spend enough time with a person so we get woven together like an old basket, eventually we’ll think in similar patterns until our various histories are apples and oranges spilling over the edge of the basket, and I think this kind of shared history is dangerous. I think it’s okay to recognize a thing’s faults and still like that thing. Because apples and oranges spilling from a basket can be beautiful too. I think I’m whatever personality hates personality tests. I think nostalgia is just a soul’s way of missing a thing, and like long-distance love, nostalgia grows deeper with time until the reality of what a thing actually was gets blurred to the point you miss the idea of the thing more than the thing itself. I like the idea of hot cocoa more than drinking

In this couple defects were multiplied, as if by a dangerous doubling; weakness fed upon itself without a counterstrength and they were trapped, defaults, mutually committed, left holes everywhere in their lives. When you read their letters to each other it is often necessary to consult the signature in order to be sure which one has done the writing. Their tone about themselves, their mood, is the fatal one of nostalgia--a passive, consuming, repetitive poetry. Sometimes one feels even its most felicitious and melodious moments are fixed, rigid in experession, and that their feelings have gradually merged with their manner, fallen under the domination of style. Even in their suffering, so deep and beyond relief, their tonal memory controls the words, shaping them into the Fitzgerald tune, always so regretful, regressive, and touched with a careful felicity.

Memories have their purpose, and nostalgia is not a danger in small doses. It can be good to remember what has made us who we are, to reflect on what has made us stronger.

Thinking back, ladies, looking back, gentlemen, thinking and looking back on my European tour, I feel a heavy sadness descend upon me. Of course, it is partly nostalgia, looking back at that younger me, bustling around Europe, having adventures and overcoming obstacles that, at the time, seemed so overwhelming, but now seem like just the building blocks of a harmless story. But here is the truth of nostalgia: we don’t feel it for who we were, but who we weren’t. We feel it for all the possibilities that were open to us, but that we didn’t take. Time is like wax, dripping from a candle flame. In the moment, it is molten and falling, with the capability to transform into any shape. Then the moment passes, and the wax hits the table top and solidifies into the shape it will always be. It becomes the past, a solid single record of what happened, still holding in its wild curves and contours the potential of every shape it could have held. It is impossible - no matter how blessed you are by luck or the government or some remote, invisible deity gently steering your life with hands made of moonlight and wind - it is impossible not to feel a little sad, looking at that bit of wax. That bit of the past. It is impossible not to think of all the wild forms that wax now will never take. The village, glimpsed from a train window, beautiful and impossible and impossibly beautiful on a mountaintop, and you wonder what it would be if you stepped off the train and walked up the trail to its quiet streets and lived there for the rest of your life. The beautiful face of that young man from Luftknarp, with his gaping mouth and ashy skin, last seen already half-turned away as you boarded the bus, already turning towards a future without you in it, where this thing between you that seemed so possible now already and forever never was. All variety of lost opportunity spied from the windows of public transportation, really. It can be overwhelming, this splattered, inert wax recording every turn not taken. ‘What’s the point?’ you ask. ’Why bother?’ you say. ’Oh, Cecil,’ you cry. ’Oh, Cecil.’ But then you remember - I remember! - that we are even now in another bit of molten wax. We are in a moment that is still falling, still volatile, and we will never be anywhere else. We will always be in that most dangerous, most exciting, most possible time of all: the Now. Where we never can know what shape the next moment will take. Stay tuned next for, well, let’s just find out together, shall we?

America today is in danger of drifting from its best traditions. We have allowed false prophets of selfishness to obscure our vision. We have grown numb to a creeping cynicism about progress and public life. We crave human connection yet hide behind walls. We worship the money chase yet decry the toll it exacts on us. We allow the market to dominate our lives, relationships, yearnings and aspirations. We indulge in nostalgia and irony and addictive entertainment, then purge from our hearts any true idealism or passion, any notion that being American should mean something more than "everyday low prices" or "every man for himself." In the midst of this dislocation and disorientation, so many Americans today yearn for higher purpose, for calling--for some assurance that life matters. We wish to believe there is more to our days than is revealed on our screens. Make no mistake: this is a spiritual crisis.

There’s no question that libraries are wonderful, but nostalgia is too thin a reed for librarians to cling to in a time of such transition. Nostalgia can actually be dangerous. For one thing, thinking of libraries as they were ages ago and wanting them to remain the same is the last thing we should want for them. For another, our nostalgic view doesn’t give libraries enough credit. Libraries offer a whole slew of services that we ignore when we just focus on pleasant reading rooms.

Woman lost (skin deep) like a damn fine thread in the fire Woman of the world caught up in your black machinations I was a woman who cried alone at night, who gave it all away when she saw the good heart of the man inside Woman caught standing up; her open parts are broken - Someone's armour broke right through, it was you, you For some reason I've been thinking about you, your light Today, you poured out all the tension, the ego underground Hibernating inside my heart. I was so close to it, to the flicker Of love in a lonely street and I turned my head and walked Away from the flame in your arms. As I put away the fun in A house of fight I came across you and a mechanism in My brain shifted chemically, walls caved in like the cadence In your words and I was lost in the darkness. Even now in Middle age I remember when desire was a popular drug And everyone was selling it but I don't live to explore to be Able to illuminate the proof of my existence, live to burn Vicariously though the diamond mouth of sleeping stars. From so much love, pictures of death arrived in black and White photographs and you're perfect, you always were - Illusions have no flaws; they're dangerous beings, smoke. Could I take the moon back and still live with my great Expectations of nostalgia, laughter, tears and suffering - But they are all a part of me not the people of the stars, Long dead videotape, the past has stained the symphony Of my soul (like the wind through the trees) throughout Me finding myself, my two left feet as a female poet The warning was there of the noise of eternity, signs That said, don't anger the sea, you have an ally in her. When men grow cold listen to their stories and bask in The glory of their genuine deaths, their winters, put Them away so you can read them like the newspaper. Once in a while you can go back to where you stood In youth with your afternoon tea, the sun of God in our Eyes - I am that kind of woman who lives in the past

But the chief cause of both of these ills is that we do not adapt ourselves to the present. but send our thoughts a long way ahead. And so foresight, the noblest blessing of the human race, becomes perverted. Beasts avoid the dangers which they see, and when they have escaped them are free from care; but we men torment ourselves over that which is to come as well as over that which is past. Many of our blessings bring bane to us; for memory recalls the tortures of fear, while foresight anticipates them. The present alone can make no man wretched.

This combination of rumination and nostalgia emerged from our research as destructive and disconnecting. If you're wondering how dangerous the combination can be, think back to the insurrection at the U.S. Capitol on January 6, 2021, or examine the strategy used by every authoritarian leader in history: Exploit fears by photoshopping a picture of yesteryear to be everything people wanted it to be (but never was), seduce people into believing that a make-believe past could exist again, and give them someone to blame for ruining the picture and/or not being able to restore the mythical utopia.

Without doubt, images of comfort and wealth, of technological sophistication, have a magnetic allure. Any job in the city may seem better than back-breaking labour in sun-scorched fields. Entranced by the promise of the new, people throughout the world have in many instances voluntarily and in great earnest turned their backs on the old. The consequences, as we have seen in Kenya, can be profoundly disappointing. The fate of the vast majority of those who sever their ties with their traditions will not be to attain the prosperity of the West, but to join the legions of urban poor, trapped in squalor, struggling to survive. As cultures wither away, individuals remain, often shadows of their former selves, caught in time, unable to return to the past, yet denied any real possibility of securing a place in a world whose values they seek to emulate and whose wealth they long to acquire. This creates a dangerous and explosive situation, which is precisely why the plight of diverse cultures is not a simple matter of nostalgia or even of human rights alone, but a serious issue of geopolitical stability and survival. [..] Outside of the major industrial nations, globalization has not brought integration and harmony, but rather a firestorm of change that has swept away languages and cultures, ancient skills and visionary wisdom.

Until we’re dead, we Service people, the world will always be in danger of another war. We had too good a time in the last one. We’ll none of us come out into the open and admit it. It might be better for us if we did. [...] For our generation, the war years were the best time of our lives, not because they were war years but because we were young. The best years of our lives happened to be war years. Everyone looks back at the time when they were in their early twenties with nostalgia, but when we look back we only see the war. We had a fine time then, and so we think that if a third war came we’d have those happy, carefree years all over again. I don’t suppose we would—some of us might.

In 1964 the fear & loathing of Barry Goldwater was startling. Martin Luther King, Jr., detected “dangerous signs of Hitlerism in the Goldwater campaign.” Joachim Prinz, president of the American Jewish Congress, warned that “a Jewish vote for Goldwater is a vote for Jewish suicide.” And George Meany, head of the AFL-CIO, saw power falling into “the hands of union-hating extremists, racial bigots, woolly-minded seekers after visions of times long past.” On Election Day Goldwater suffered a devastating defeat, winning only 41 electoral votes. It was the judgment of the establishment that Goldwater’s critique of American liberalism had been given its final exposure on the national political scene. Conservatives could now go back to their little lairs and sing to themselves their songs of nostalgia and fancy, and maybe gather together every few years to hold testimonial dinners in honor of Barry Goldwater, repatriated by Lyndon Johnson to the parched earth of Phoenix, where dwell only millionaires seeking dry air to breathe and the Indians Barry Goldwater could now resume photographing. But then of course 16 years later the world was made to stand on its head when Ronald Reagan was swept into office on a platform indistinguishable from what Barry had been preaching. During

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

So to avoid the twin dangers of nostalgia and despairing bitterness, I'll just say that in Cartagena we'd spend a whole month of happiness, and sometimes even a month and a half, or even longer, going out in Uncle Rafa's motorboat, La Fiorella, to Bocachica to collect seashells and eat fried fish with plantain chips and cassava, and to the Rosary Islands, where I tried lobster, or to the beach at Bocagrande, or walking to the pool at the Caribe Hotel, until we were mildly burned on our shoulders, which after a few days started peeling and turned freckly forever, or playing football with my cousins, in the little park opposite Bocagrande Church, or tennis in the Cartagena Club or ping-pong in their house, or going for bike rides, or swimming under the little nameless waterfalls along the coast, or making the most of the rain and the drowsiness of siesta time to read the complete works of Agatha Christie or the fascinating novels of Ayn Rand (I remember confusing the antics of the architect protagonist of The Fountainhead with those of my uncle Rafael), or Pearl S. Buck's interminable sagas, in cool hammocks strung up in the shade on the terrace of the house, with a view of the sea, drinking Kola Roman, eating Chinese empanadas on Sundays, coconut rice with red snapper on Mondays, Syrian-Lebanese kibbeh on Wednesdays, sirloin steak on Fridays and, my favourite, egg arepas on Saturday mornings, piping hot and brought fresh from a nearby village, Luruaco, where they had the best recipe.

Watching, the ancient bull whale was swept up in memories of his own birthing. His mother had been savaged by sharks three months later; crying over her in the shallows of Hawaiki, he had been succoured by the golden human who became his master. The human had heard the young whale’s distress and had come into the sea, playing a flute. The sound was plangent and sad as he tried to communicate his oneness with the young whale’s mourning. Quite without the musician knowing it, the melodic patterns of the flute’s phrases imitated the whalesong of comfort. The young whale drew nearer to the human, who cradled him and pressed noses with the orphan in greeting. When the herd travelled onward, the young whale remained and grew under the tutelage of his master. The bull whale had become handsome and virile, and he had loved his master. In the early days his master would play the flute and the whale would come to the call. Even in his lumbering years of age the whale would remember his adolescence and his master; at such moments he would send long, undulating songs of mourning through the lambent water. The elderly females would swim to him hastily, for they loved him, and gently in the dappled warmth they would minister to him. In a welter of sonics, the ancient bull whale would communicate his nostalgia. And then, in the echoing water, he would hear his master’s flute. Straight away the whale would cease his feeding and try to leap out of the sea, as he used to when he was younger and able to speed toward his master. As the years had burgeoned the happiness of those days was like a siren call to the ancient bull whale. But his elderly females were fearful; for them, that rhapsody of adolescence, that song of the flute, seemed only to signify that their leader was turning his thoughts to the dangerous islands to the south-west.

Reflective nostalgics miss the past and dream about the past. Some of them study the past and even mourn the past, especially their own personal past. But they do not really want the past back. Perhaps this is because, deep down, they know that the old homestead is in ruins, or because it has been gentrified beyond recognition--or because they quietly recognize that they wouldn't much like it now anyway. Once upon a time life might have been sweeter or simpler, but it was also more dangerous, or more boring, or perhaps more unjust. Radically different from the reflective nostalgics are what Boym calls the restorative nostalgics, not all of whom recognize themselves as nostalgics at all. Restorative nostalgics don't just look at old photographs and piece together family stories. They are mythmakers and architects, builders of monuments and founders of nationalist political projects. They do not merely want to contemplate or learn from the past. They want, as Boym puts it, to "rebuild the lost home and patch up the memory gaps." Many of them don't recognize their own fictions about the past for what they are: "They believe their project is about truth." They are not interested in a nuanced past, in a world in which great leaders were flawed men, in which famous military victories had lethal side effects. They don't acknowledge that the past might have had its drawbacks. They want the cartoon version of history, and more importantly, they want to live in it, right now. They don't want to act out roles from the past because it amuses them: they want to behave as think their ancestors did, without irony. It is not by accident that restorative nostalgia often goes hand in hand with conspiracy theories and the medium-sized lies. These needn't be as harsh or crazy as the Smolensk conspiracy theory or the Soros conspiracy theory; they can gently invoke scapegoats rather than a full-fledged alternative reality. At a minimum, they can offer an explanation: The nation is no longer great because someone has attacked us, undermined us, sapped our strength. Someone—the immigrants, the foreigners, the elites, or indeed the EU—has perverted the course of history and reduced the nation to a shadow of its former self. The essential identity that we once had has been taken away and replaced with something cheap and artificial. Eventually, those who seek power on the back of restorative nostalgia will begin to cultivate these conspiracy theories, or alternative histories, or alternative fibs, whether or not they have any basis in fact.

These, too [ideologies], have disappeared. And we survive only by a reflex action of collective credulity, which consists not only in absorbing everything put about under the heading of news or information, but in believing in the principle and transcendence of information. While, at the same time, remaining deeply incredulous and resistant to that kind of knee-jerk consensus. We no more believe in information by divine right than serfs ever believed they were serfs by divine right, but we act as though we do. Behind this façade, a gigantic principle of incredulity is growing up, a principle of secret disaffection and the denial of any social bond. There is a considerable danger of the inertia threshold being crossed, danger of a potential gravitational collapse by an exceeding of the critical mass, thanks to the absorption by the system of all negative elements: crashes, errors, scandals, conflicts -- everything is absorbed back into it as though by evaporation. All the wastes and disorders are digested and recycled. Maddening metastability which gives rise to a whole range of violent, virulent, destabilizing abreactions, which are the symptom of that collapse. All our contemporary passions arise from this: objectless, negative passions, all born of indifference, all built (in the absence of a real object) on a virtual other, and thus doomed to crystallize for preference on any old thing at all.

What’s wrong with feeling nostalgic? It’s the only distraction left for those who have no faith in the future.” Nostalgia can be a dangerous distraction, and it can underpin a feeling of resignation or hopelessness after a fall.

Nostalgia is also a dangerous form of comparison. Think about how often we compare ourselves and our lives to a memory that nostalgia has so completely edited that it never really existed.

nostalgia, the “if onlys” can be dangerous. It

One day, I'd like to be an old man that tells the children about those dangerous days when rock n roll still existed. Today all of that is gone. Willy DeVille - Crow Jane Alley Show Interlude

Nostalgia is a dangerous drug,

Ah, how much freer and fun the 70s must have been if the vibe in this casino is reflecting the mood of the 1970s. There it is, the so dangerous nostalgia for a time that I didn't even live through myself. Let's not fall into that trap, let’s get to gambling instead.

If the French have loaded nostalgia with too much clarity, if they have deprived it of a certain intimate and dangerous prestige; Sehnsucht, on the other hand, exhausts what is insoluble in the conflicts of the German soul, torn between the Heimat and the Infinite.

A new revolutionary grammar also begins with a cold defense of hopelessness. One of the system’s most effective tricks is the cruel lie of reform. Hope gives life to the system, prolonging its brutal existence. It breeds nostalgia. The system—with a new president, a new prime minister, and so on—will be redeemed. Liberal democracy can get a reboot. It can still deliver on its emancipatory promises. Hopelessness interrupts this postpolitical calculus. Without this sense of hopelessness, we would never demand something qualitatively different. Politics as such would be inexistent. Hopelessness opens onto pessimism, onto a critical and skeptical hermeneutics. Pessimism is a political doing; it embodies an active and vigilant disposition vis-à-vis power. We might recall here Foucault’s insistence that power doesn’t mean “that everything is bad,” but rather “that everything is dangerous” (1983, 231–32). And more importantly, what follows from this apprehension is not despair or apathy (power is all there is; there is no outside-power), but a resolve to confront any configuration of power identified as dangerous by adopting what Foucault suggestively terms “a hyper- and pessimistic activism” (1983, 232). In Lacanese, power is non-all. Žižek repeats this kind of “hyper- and pessimistic activism” when he stresses the lack of transcendence from within. The antidote to the “slow death” (Berlant 2011, 102) of quotidian life is decidedly not reform but revolution. Against the liberal model of incremental change, the experience of change without change, a universal politics affirms the sober vision that there is no light at the end of the tunnel; on the contrary, as Žižek puts it, if there is a light, what we are actually seeing is another train bearing down on us (2017a, xi–xii). In this respect, “the courage of hopelessness” is counterintuitively “the height of optimism” (Agamben 2014).

However, I suppose VH1 *is* selling me something; they're selling nostalgia, which means they're selling my own memories back to me, which means they're selling me to me.

what was once associated with deafening, dangerous, and stultifying work could now be admired as historic creations and greeted with reverential, if only quasi-informed, nostalgia. The

At the core of this nostalgia stands a double desire for control: Citizens want their nation to be able to make its own decisions, unencumbered by the constraints of the global economy.

For one thing, she was quite astonishingly beautiful. Not at all in the common style, she was possessed of a thick mane of impossibly flame-colored hair, a tall, lush body of dangerous voluptuousness, and the warm, honey-colored eyes of a complete innocent. That red hair called to him, a siren lure, but he assumed it was only nostalgia and misplaced sentiment. Not that he'd ever been known to possess those two qualities.