Nostalgia Related Quotes

Oh shoot. That’s the kind of stuff that gets me in trouble. My Gram is right. I got a bad mouth.

The aching in my chest isn't because I miss you, it's realizing that you have become someone I no longer know, your fears, your 4 am thoughts, your achievements, are things I no longer have an equivalent to. Who we were and who we are are four different people, and the me from now doesn't relate to the me from then, let alone to the you from now. -Tanzy Sayadi and Jarod Kintz

Some of my relatives held on to imagined memories the way homeless people hold onto lottery tickets. Nostalgia was their crack cocaine, if you will, and my childhood was littered with the consequences of their addiction : unserviceable debts, squabbles over inheritances, the odd alcoholic or suicide.

My old friend, what are you looking for? After years abroad you’ve come back with images you’ve nourished under foreign skies far from you own country.’ ‘I’m looking for my old garden; the trees come to my waist and the hills resemble terraces yet as a child I used to play on the grass under great shadows and I would run for hours breathless over the slopes.’ ‘My old friend, rest, you’ll get used to it little by little; together we will climb the paths you once knew, we will sit together under the plane trees’ dome. They’ll come back to you little by little, your garden and your slopes.’ ‘I’m looking for my old house, the tall windows darkened by ivy; I’m looking for the ancient column known to sailors. How can I get into this coop? The roof comes to my shoulders and however far I look I see men on their knees as though saying their prayers.’ ‘My old friend, don’t you hear me? You’ll get used to it little by little. Your house is the one you see and soon friends and relatives will come knocking at the door to welcome you back tenderly.’ ‘Why is your voice so distant? Raise your head a little so that I understand you. As you speak you grow gradually smaller as though you’re sinking into the ground.’ ‘My old friend, stop a moment and think: you’ll get used to it little by little. Your nostalgia has created a non-existent country, with laws alien to earth and man.’ ‘Now I can’t hear a sound. My last friend has sunk. Strange how from time to time they level everything down. Here a thousand scythe-bearing chariots go past and mow everything down

Sentimentality and nostalgia are closely related. Kissing cousins. I have no time for nostalgia, though. Nostalgics believe the past is nicer than the present. It isn't. Or wasn't. Nostalgics want to cuddle the past like a puppy. But the past has bloody teeth and bad breath. I look into its mouth like a sorrowing dentist.

Dachux: It’s not like in the old days where you could kill a hogre or two, and nobody asked questions.

I felt Nairobi's foreignness — or really, my own foreignness in relation to it — immediately, even in the first strains of morning. It's a sensation I've come to love as I've traveled more, the way a new place signals itself instantly and without pretense. The air has a different weight from what you're used to; it carries smells you can't quite identify, a faint whiff of wood smoke or diesel fuel, maybe, or the sweetness of something blooming in the trees. The same sun comes up, but looking slightly different from what you know.

Finally, and even more seriously, I fear a return to the international climate that prevailed in the 1920s and '30s, when the United States withdrew from the global stage and countries everywhere pursued what they perceived to be their own interests without regard to larger and more enduring goals. When arguing that every age has its own Fascism, the Italian writer and Holocaust survivor Primo Levi added that the critical point can be reached “not just through the terror of police intimidation, but by denying and distorting information, by undermining systems of justice, by paralyzing the education system, and by spreading in a myriad subtle ways nostalgia for a world where order reigned.” If he is right (and I think he is), we have reason to be concerned by the gathering array of political and social currents buffeting us today—currents propelled by the dark underside of the technological revolution, the corroding effects of power, the American president’s disrespect for truth, and the widening acceptance of dehumanizing insults, Islamophobia, and anti-Semitism as being within the bounds of normal public debate. We are not there yet, but these feel like signposts on the road back to an era when Fascism found nourishment and individual tragedies were multiplied millions-fold.

Nothing brings home closer than going home...

Every form of social and political belief that lies before us today is related to the Romantic movement, for that is the archetype of our ongoing attempt to live by our own devices. This is more true of socialism than of conservatism, in fact – socialism being a kind of diseased nostalgia for the future, which is yet more damaging than nostalgia for the past.

Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem. In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death.

Einstein did not seek loneliness, but unlike Freud, he did not find it a threat. He was quite happy to be on his own from earliest life and did not crave companionship. This lack of craving for another person may well explain why neither of his marriages was a success and why his relations to his two sons were also unsatisfactory. In working out problems, Einstein once recalled, "I lived in solitude in the country and noticed how the monotony of quiet life stimulates the creative mind." He went on to comment, with some nostalgia: "There are certain callings in our modern organization which entail such an isolated life without making a great claim on bodily and intellectual effort. I think of such occupations as the service [sic] in lighthouses and lightships.

AND SINCE we’re talking about nostalgia, I beg you to have a little patience with what follows because I can’t separate the subject of Chile from my own life. My past is composed of passions, surprises, successes, and losses: it isn’t easy to relate in two or three sentences.

În universurile paralele ești încă viu, Theo, dar eu trăiesc în lumea reală în care în dimineața asta tu ai parte de o înmormântare cu sicriul deschis. Știu că ești acolo și asculți. Și ar trebui să știi că-s foarte supărat pentru că ai promis că nu vei muri și iată-ne totuși aici. Iar faptul că nu e prima promisiune pe care ai încălcat-o mă doare și mai tare.

These facilities were relatively rustic even for this area of the world. Other inns at least had indoor plumbing and electricity. Most even had radios. But not this one. Perhaps it had something to do with the part of town he was in. It was known to the locals as the Nostalgia District, though no one really knew how the area had gotten its name. Did it come about through the feeling that it evoked in its residents and visitors? Or was it due to a lack of modern conveniences? The former certainly seemed less likely than the latter as it seemed doubtful that its long-time residents could continually, over the course of years, manage to be subject to a sense of nostalgia. After all, wouldn’t the perpetual absence of a modern context, eventually, defeat the purpose of evoking such a feeling? In fact, it would seem more appropriate to assume that visitors who spent enough time within the confines of this area were unwittingly apt to live in the past and become nostalgic for the modern day...or even the future.

You remember your pre-internet brain, and you remember doing those things, but you don’t really remember how it felt. You don’t really remember how time felt. There’s that guy who wrote that book, I can’t remember what it’s called, fuckin’ genius guy. But he’s saying that the world has always been informed by people who read books, and not necessarily academically, but the concept of a narrative is very important to people’s lives. Those people grew up with not necessarily a sense of purpose, but a sense that your life is leading somewhere. That’s the way I relate to my music, because I see The 1975 as this story. But as we go into the future, the world is gonna start being informed by people who didn’t grow up with that narrative — who grew up with more of a sense of immediacy. And we start to feel more like a unit amongst other units, and everything becomes a lot more compartmentalized. So when we talk about Twitter, we know that we were happy before, but we can’t remember how it felt, so we won’t take the risk to leave it. The generation after us now, they don’t have that weird nostalgia or sense that something’s wrong: ‘I didn’t used to do this. I didn’t used to need this.

She, who had never liked weddings, had allowed herself this fantasy. Her wedding day to Rory. A pretty church in Sussex, festooned with spring flowers. Rows of relatives, and her, Elle, floating down the aisle in cream silk to 'The arrival of queen Sheba', with eyes only for him... Rory, slightly rumpled, slightly scared, her love, her only one. But that wasn't how it had turned out. She knew she was OK, watching him, in fact she was happy for him, happy for Libby. But she couldn't help but feel a pang of sympathy for the girl she'd been, who'd loved him so much. She was still dreaming somewhere, hoping this day would come.

Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem. In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death

he revealed nothing. He nodded gravely. “I suppose it might be, ma’am, but I was hired to do the job and take the risks.” “Figured I’d offer,” Thomas said, unwilling to let the matter drop. “You tell me what you figure to do, and I’ll be glad to help.” “Another time.” The marshal tasted his coffee again and looked directly at the girl. “You are new in Sentinel. Will you be staying long?” “No.” “Do you have relatives here?” “No.” He waited, but no explanation was offered. Fitz Moore was puzzled and he studied her from the corners of his eyes. There was no sound in the room but the ticking of the big, old-fashioned clock. The girl sat very still, the delicate line of her profile bringing to him a faint, lost feeling, a nostalgia from his boyhood when such women as she rode to hounds, when there was perfume on the air, blue grass, picket fences . . .

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.

examples of what are called nostos narratives. Nostos is the Greek word for “homecoming”; the plural form of this word, nostoi, was, in fact, the title of a lost epic devoted to the homecomings of the Greek kings and chieftains who fought in the Trojan War. The Odyssey itself is a nostos narrative, one that often digresses from its tale of Odysseus’ twisty voyage back to Ithaca in order to relate, in brief, the nostoi of other characters, as Nestor does here—almost as if it were anxious that those other nostoi stories would not themselves make it safely into the future. In time, this wistful word nostos, rooted so deeply in the Odyssey’s themes, was eventually combined with another word in Greek’s vast vocabulary of pain, algos, to give us an elegantly simple way to talk about the bittersweet feeling we sometimes have for a special kind of troubling longing. Literally this word means “the pain associated with longing for home,” but as we know, “home,” particularly as we get older, can be a time as well as a place. The word is “nostalgia.

Now, if we are made for heaven, the desire for our proper place will be already in us, but not yet attached to the true object, and will even appear as the rival of that object ... If a transtemporal, transfinite good is our real destiny, then any other good on which our desire fixes must be in some degree fallacious, must bear at best only a symbolical relation to what will truly satisfy. In speaking of this desire for our own faroff country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a � name. Our commonest expedient is to call it beauty and behave as if that had settled the matter.

On its own, Moonrise Kingdom is a relatively harmless film. But for those of us who have been currently shocked by the “unadulterated white racism…splattered all over the media,” we might ask ourselves what has helped fuel our country’s wistfully manufactured “screen memory.” Anderson’s Moonrise Kingdom is just one of countless contemporary films, works of literature, pieces of music, and lifestyle choices where wishing for innocent times means fetishizing an era when the nation was violently hostile to anyone different. Hollywood, an industry that shapes not only our national but global memories, has been the most reactionary cultural perpetrator of white nostalgia, stuck in a time loop and refusing to acknowledge that America’s racial demographic has radically changed since 1965. Movies are cast as if the country were still “protected” by a white supremacist law that guarantees that the only Americans seen are carefully curated European descendants.

When two researchers controlled for paternal inaccessibility, they found that the sons of relatively uninvolved fathers in intact homes had the same kind of academic deficits as did boys in mother-only families.

Declinism is a close relative of nostalgia, and objects of nostalgia are often atemporal, lacking aliveness. An example: Say you break up with someone and many years later find yourself nostalgic for the relationship. Who is it that appears in this melancholic yearning? Assuming they’re still around, it is surely not your ex-partner as they currently are, the one who has continued to age and evolve. Instead, it is a frozen, idealized version of them, like a hologram that survives within and despite the present. What’s more, some relationships arguably end in the first place because partners have stopped seeing each other in time, one partner having replaced the living, changing other with a static image that can impart no surprises, only a comforting presence. As we learned with the moss, to think you love and appreciate something or someone is, unfortunately, not a guarantee that you can assign them their own reality or that you know them at all.

This vicious circle is but the first of a series in which the mind that studies itself gets lost in a giddy whirling. The very simplicity of these paradoxes makes them irreducible. Whatever may be the plays on words and the acrobatics of logic, to understand is, above all, to unify. The mind’s deepest desire, even in its most elaborate operations, parallels man’s unconscious feeling in the face of his universe: it is an insistence upon familiarity, an appetite for clarity. Understanding the world for a man is reducing it to the human, stamping it with his seal. The cat’s universe is not the universe of the anthill. The truism “All thought is anthropomorphic” has no other meaning. Likewise, the mind that aims to understand reality can consider itself satisfied only by reducing it to terms of thought. If man realized that the universe like him can love and suffer, he would be reconciled. If thought discovered in the shimmering mirrors of phenomena eternal relations capable of summing them up and summing themselves up in a single principle, then would be seen an intellectual joy of which the myth of the blessed would be but a ridiculous imitation. That nostalgia for unity, that appetite for the absolute illustrates the essential impulse of the human drama. But the fact of that nostalgia’s existence does not imply that it is to be immediately satisfied. For if, bridging the gulf that separates desire from conquest, we assert with Parmenides the reality of the One (whatever it may be), we fall into the ridiculous contradiction of a mind that asserts total unity and proves by its very assertion its own difference and the diversity it claimed to resolve. This other vicious circle is enough to stifle our hopes

God describes Himself to us through ourselves. Which means that the divine Names are essentially relative to the beings who name them, since these beings discover and experience them in their own mode of being. Accordingly these Names are also desig- nated as Presences (Hadarat), that is, as the states in which the Godhead reveals Himself to his faithful in the form of one or another of His infinite Names. Thus the divine Names have meaning and full reality only through and for beings who are their epiphanic forms ( mazahir) , that is to say, the forms in which they are manifested. Likewise from all eternity, these forms, substrate of the divine Names, have existed in the divine Essence (A yan thabita ) . And it is these latent individualities who from all eternity have aspired to concrete being in actu. Their aspiration is itself nothing other than the nostalgia of the divine Names yearning to be revealed. And this nostalgia of the divine Names is nothing other than the sadness of the unrevealed God, the anguish He experiences in His unknownness and occultation.

The English language once had a word for the characteristic impression that a plant or animal offers to the eye. We called it the “jizz,” and the adoption of that term as sexual slang is unfortunate, as it seems unlikely we’ll come up with a replacement. It is the jizz, for example, that allows a skilled birdwatcher to know a bird by its silhouette alone , or by some quality of movement or the way it holds its head. The strangely unsteady flight of the turkey vulture, the flat forehead of the Barrow’s goldeneye, the endless headlong running of sanderlings on a mudflat— each of these is the jizz. It is so pure an essence that, if captured in a few rough lines drawn with charcoal, it can express an animal more authentically than a portrait by a trained artist who has never carefully watched the creatures he paints. It’s the jizz that ancient art so often represents. While looking at Egyptian treasures in a museum, I felt a rush of nostalgia when an engraving of a scarab beetle reminded me that I used to see a related species, the tumblebug, or Canthon simplex, roll balls of dung across my home prairie. I had completely forgotten; it took a 3,500-year-old artifact from another continent to make me remember.

One way to understand the matter is to recognize that when we mourn, we not only grieve the vanishing of treasured objects, but also those versions of ourselves that thrived within a particular (now lost) relational dynamic. In this manner, loss compels us to discard outmoded facets of the self. While this may give rise to bouts of regret and nostalgia, in the final analysis it serves to replenish the self in that it engenders new inner intensities and unforeseen psychic possibilities.

If thought discovered in the shimmering mirrors of phenomena eternal relations capable of summing them up and summing themselves up in a single principle, then would be seen an intellectual joy of which the myth of the blessed would be but a ridiculous imitation. That nostalgia for unity, that appetite for the absolute illustrates the essential impulse for the human drama. But the fact of that nostalgia’s existence does not imply that it is to be immediately satisfied. For if, bridging the gulf that separates desire from conquest, we assert with Parmenides the reality of the One (whatever it may be) we fall into the ridiculous contradiction of a mind that asserts total unity and proves by its very assertion its own difference and the diversity it claimed to resolve. This other vicious circle is enough to stifle our hopes.

When I’m awake I’m happy sometimes, but I don’t know that I’m ever as happy awake as I am when I’m dreaming. Awake, I’ve got all this nostalgia, this feeling that I’m separated from something I can smell but can’t touch. I get these sudden, unbearable realizations that I should have been more present during all those moments in my life, that I should have taken the time to be like, “Oh shit, man, this is my life, and it’s fucking awesome sometimes.

We cannot understand divine completion, however, using Greek philosophy or metaphysics. Quantum physics and evolution turn ontological transcendence into nostalgia.

Americans are curious as a people in that we have a relatively limited history and yet endless nostalgia.

The painful post-communist transition has prompted bouts of nostalgia among older Russians for the relative ease and order of Soviet times, with little heed paid to the harsh reality that the bankrupt Soviet system itself helped bring about the mess that Putin now faces.

This battle fought within the consciousness of every man, is relative, for in nature there is no evil. It exists as a byproduct of man. In nature, there is a brutal indifference between the cycles of matter and energy. Therefore, this daily struggle between good and evil in the heart of every man is as much philosophical and psychological as it is the social framework in which we have structured ourselves throughout history.

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Remember the 'meet-cute'? The charming encounter at the bookstore, the chance meeting at a coffee shop, the accidental bump-in at the dog park? These scenarios, once staples of romantic comedies, now seem like relics of a bygone era.

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