Plus Two Life Memories Quotes

As the years go by and I grow older, I feel compelled to record my experiences in wartime Germany. It is important that my children, grandchildren and future generations know about the difficult times we all endured and of the horrors that existed in Nazi Germany during the Second World War. Due to my advanced age and present condition, I am aware of the urgency to document my memories. If I fail in this, I will fail those who follow me, for they will never know!” Adeline Perry This book had its origin many years ago when Adeline Perry tried to recount her experiences and found that she would become overcome by her emotions every time she tried. The horrors and trials that she had experienced, plus the responsibility of raising her two daughters proved to be overwhelming. It was not until the twilight of her life when her daughters gently persuaded her to try again so that future generations might hear and perhaps learn from her experiences. In fact a good portion of these manuscripts were written while she was in the care of Hospice and only now survive because of immense personal strength and devotion to her family and the desire that what had happened to her would never happen again. Her daughter, and my wife, Ursula can take a great deal of pride in the effort it took to make these manuscripts a reality. After Adeline’s passing I had the privilege to develop the book Suppressed I Rise. Staying true to her story I gave her the authorship of the first edition of this book, which adhered to, and did not exceed what she had left in her original manuscripts. This book which was printed in limited numbers became an instant success and deserved more exposure. Readers also felt that there were questions that went unanswered requiring a follow-up. How did Adeline justify going to Germany prior to World War II? What happened to her marriage to Richard and how did she resume her own life, as a single mother, when she returned to South Africa! With additional reflections by her daughters Brigitte Grigsby and Ursula Bracker, and travel to the areas discussed in Suppressed I Rise, I expanded the book to include the prewar years. I also corrected minor contradictions and factual discrepancies that were inadvertently caused by the passage of time. Talking to people in Germany I confirmed some of what had happened including the hanging of the Russian prisoner of war. The book has now become a powerful example of not only personal courage but also of human tragedy. It is a book that I am proud to have written and share in the concept that it was a story that had to be told.

She understood that becoming a nun was a lifetime commitment. Testing her daughter’s resolve was wise. The Koehler family together, 1923 First Homes As an adult, I visited Rosie’s first home at 83 Beals Street in Brookline, Massachusetts, to get a sense of her early life and that of her famous family. The compact Victorian residence stands three stories tall on a small lot in the Boston suburb. It was easy to picture the young Kennedy children playing in the back yard. Rose Kennedy wrote in Times to Remember, her 1974 autobiography: “It was a nice old wooden-frame house with clapboard siding; seven rooms, plus two small ones in the converted attic, all on a small lot with a few bushes and trees . . . about twenty-five minutes from the center of the city by trolley.” 5 The family home on Beals Street is now the John Fitzgerald Kennedy National Historic Site, run by the National Park Service. From the deep browns and reds of the rugs on the hardwood floors to the homey couch and chairs, the home felt warm and comfortable to me. I suppressed a desire to kick off my sandals and flop on the sofa. The Kennedys’ house on Beals Street, Rosie’s first home But my perspective as a child would have triggered a different impression. I would have whispered to my mother, “They’re rich!” (I’ve since discovered that money isn’t the only measure of wealth. There’s wealth in memories, too.) A lovely grand piano occupies one corner of the Kennedys’ old living room. It was a wedding gift to Rose Kennedy from her uncles, and she delighted in playing her favorite song, “Sweet Adeline,” on it. Although her children took piano lessons, Mrs. Kennedy lamented that her own passion never ignited a similar spark in any of her daughters. She did often ask Rosemary to perform, however. I see an image of Rosemary declaring she couldn’t, her hands stretching awkwardly across the keys. But her mother encouraged Rosie to practice, confident she’d

To see something marvellous with your own eyes –that’s wonderful enough. But when two of you see it, two of you together, holding hands, holding each other close, knowing that you’ll both have that memory for the rest of your lives, but that each of you will only ever hold an incomplete half of it, and that it won’t ever really exist as a whole until you’re together, talking or thinking about that moment... that’s worth more than one plus one. It’s worth four, or eight, or some number so large we can’t even imagine it. I think I’d rather die than lose those memories.’ - "House of Suns" by Alastair Reynolds

After thirty-plus years as a latter-day robber baron and almost as many as a fiercely acquisitive retiree, the old man clapped both hands to his head, made a sound like a peevish crow, and collapsed to the floor. He landed in the middle of the immense Aubusson carpet in the Great Room of Galtonbrook Hall, the pile of marble that had been his home and would be his memorial. Galtonbrook Hall loomed less than half a mile from Columbia Presbyterian Hospital, and an ambulance got there in minutes, but they didn’t have to rush. Martin Greer Galton, born March 7, 1881, in Latrobe, Pennsylvania, was almost certainly dead by the time he hit the floor. Now, fifty years later, his house lived on. He’d devoted the first half of his life to making money and the second half to spending it, collecting art and artifacts in great profusion, and building Galtonbrook Hall to house himself for his lifetime and his treasures for all eternity. That at least was the plan, and he’d funded the enterprise sufficiently to see it carried out. What had been a home was now a museum, open to the public six days a week. Out-of-towners rarely found their way to the Galtonbrook; it didn’t get star treatment in the guidebooks, and it was miles from midtown, miles from the Upper East Side’s Museum Mile. As a result it was rarely crowded. You had to know about it and you had to have a reason to go there, and if you were in the neighborhood you’d probably wind up at the Cloisters instead. “We’ll go to the Galtonbrook the next time,” you’d tell yourself, but you wouldn’t. Neither Carolyn nor I had been there until our visit five days earlier, on a Thursday afternoon. We’d stood in front of a portrait of a man in a plumed hat, and its brass label identified it as the work of Rembrandt. The guidebook I’d consulted had its doubts, and repeated an old observation: Rembrandt painted two hundred portraits, of which three hundred are in Europe and four hundred in the United States of America. “So it’s a fake,” she said. “If it is,” I said, “we only know