Rewrite The Past Quotes

I can't. You can't rewrite the past.

Love blinds. We have both tried to give our sons, not what they needed, but what we needed. We’ve been so busy trying to rewrite our own pasts, we’ve blighted their present.

...but I could not sleep without proper covering and spent the rest of the night rewriting lost arguments from my past, altering history so that I emerged victorious.

She needs a new journal. The one she has is problematic. To get to the present, she needs to page through the past, and when she does, she remembers things, and her new journal entries become, for the most part, reactions to the days she regrets, wants to correct, rewrite.

By mentally retracing our steps or ruminating on lost opportunities, we may try to rewrite the past to heighten our idealized self-image, but we might succumb to useless suffering from pride and vanity. ("Esprit d’escalier" - " Staircase Wit")

He always says that those who control the present can rewrite the past.

You can’t rewrite the past, but you can choose to live with your whole heart in the here and now.

Trying to rewrite the past was a child's game, a pointless, ridiculous child's game no one ever won.

They tell us we must learn to live with less, and teach our children that their lives will be less full and prosperous than ours have been; that the America of the coming years will be a place where — because of our past excesses — it will be impossible to dream and make those dreams come true. I don't believe that. And, I don't believe you do either. That is why I am seeking the presidency. I cannot and will not stand by and see this great country destroy itself. Our leaders attempt to blame their failures on circumstances beyond their control, on false estimates by unknown, unidentifiable experts who rewrite modern history in an attempt to convince us our high standard of living, the result of thrift and hard work, is somehow selfish extravagance which we must renounce as we join in sharing scarcity. I don't agree that our nation must resign itself to inevitable decline, yielding its proud position to other hands. I am totally unwilling to see this country fail in its obligation to itself and to the other free peoples of the world.

The past is a script we are constantly rewriting.

All of us are a culmination of vital parts of our parents and their pasts. A vital part of the circumstances we were raised with. Everything that happens to us, good and bad, leaves a lasting impression in our souls. You take one part of that out, and you can completely rewrite something crucial about us. By and large, we're not shaped by the big things. It's the little day to day moments that make us who we are. Who we're going to be." His head was pounding from trying to digest all of this. "I'm so overwhelmed." "Most of us are, Nick. Even though we look calm and peaceful on the outside, most of us are barely hanging on by our fingernails.

Reflection is a dangerous pastime. It can lead you to rewrite your past, alter how you see your present, and tempt you down paths you never imagined you would explore.

We will never cease our critique of those persons who distort the past, rewrite it, falsify it, who exaggerate the importance of one event and fail to mention some other; such a critique is proper (it cannot fail to be), but it doesn't count for much unless a more basic critique precedes it: a critique of human memory as such. For after all, what can memory actually do, the poor thing? It is only capable of retaining a paltry little scrap of the past, and no one knows why just this scrap and not some other one, since in each of us the choice occurs mysteriously, outside our will or our interests. We won't understand a thing about human life if we persist in avoiding the most obvious fact: that a reality no longer is what it was when it was; it cannot be reconstructed. Even the most voluminous archives cannot help.

I know you like to be in control and you operate a lot from fear but you have to break the bounds of your past Nicole and rewrite the story you’ve been telling yourself based off of others experiences. You have to create your own experience, write your own story.

How many times are we offered the opportunity to rewrite the past and therefore the future, to reconfigure our present personas - a widow rather than a divorcee, faithful rather faithless? The past is subject to all kinds of revision, it is hardly a stable field, and every alteration in the past dictates an alteration in the future. Even a change in our conception of the past can result in a different future, different to the one we planned.

Remember: we all get what we tolerate. So stop tolerating excuses within yourself, limiting beliefs of the past, or half-assed or fearful states. Use your body as a tool to snap yourself into a place of sheer will, determination, and commitment. Face your challenges head on with the core belief that problems are just speed bumps on the road to your dreams. And from that place, when you take massive action—with an effective and proven strategy—you will rewrite your history.

This was what was wonderful, standing alone in the big, soft night rewriting the past to make myself miss what had never been. Now that it was over, I could turn the past into anything I wanted.

But rereading is not like remembering. It's more like rewriting ourselves: the subtle alchemy of reinventing our past through the twice-underscored words written by others.

You can't rewrite the past

No, I don’t have the slightest desire to rewrite the past or history or whatever. What I’d like to rewrite is the present, here and now.

I wish we could erase all those—those atrocities,” she stammered, and was surprised by her father’s reply. “Never say that,” he insisted. “Say you want to make things right, to build a better future. But erasing the past—or worse, trying to rewrite it—is the tool of despots. Only by engaging with the past can we avoid repeating it.

[M]an has always harbored the desire to rewrite his own biography, to change the past, to wipe out tracks, both his own and other's. (p.130)

We’ve been so busy trying to rewrite our own pasts, we’ve blighted their present.

We rewrite things until we get them done or they become irrelevant.

In a sense we re-write our past. We change our narrative. We reprogram ourselves. There is no objective history, this we know, only stories. Our character is the result of this story we tell ourselves about ourselves, and the process of inventorying breaks down the hidden and destructive personal grammar that we have unwittingly allowed to govern our behaviour.

Memory cannot be understood, either, without a mathematical approach. The fundamental given is the ratio between the amount of time in the lived life and the amount of time from that life that is stored in memory. No one has ever tried to calculate this ratio, and in fact there exists no technique for doing so; yet without much risk of error I could assume that the memory retains no more than a millionth, a hundred-millionth, in short an utterly infinitesimal bit of the lived life. That fact too is part of the essence of man. If someone could retain in his memory everything he had experienced, if he could at any time call up any fragment of his past, he would be nothing like human beings: neither his loves nor his friendships nor his angers nor his capacity to forgive or avenge would resemble ours. We will never cease our critique of those persons who distort the past, rewrite it, falsify it, who exaggerate the importance of one event and fail to mention some other; such a critique is proper (it cannot fail to be), but it doesn't count for much unless a more basic critique precedes it: a critique of human memory as such. For after all, what can memory actually do, the poor thing? It is only capable of retaining a paltry little scrap of the past, and no one knows why just this scrap and not some other one, since in each of us the choice occurs mysteriously, outside our will or our interests. We won't understand a thing about human life if we persist in avoiding the most obvious fact: that a reality no longer is what it was when it was; it cannot be reconstructed.

You don’t rewrite it, censor it, or edit it, to suit some warped view you have of the past and your own present.

There are lots of people who rewrite their past and, what’s more, believe it themselves. Now that is odd.

But I can't rewrite history. I can only live with what's left.

We live and die by our stories if we don't rewrite our own history. The past is merely what we make of it, the future ours to create. Rewrite revise, erase.

There is no canonical way to think of our own past. In the endless quest for order and structure, we grasp at whatever picture is floating by and put our past into its frame.

In the end, it didn’t matter, because she couldn’t rewrite the past. She could only ensure she didn’t repeat her mistakes.

In life, my dear, you must actually go after what you want. You can’t rewrite the past, but you can choose to live with your whole heart in the here and now.

We constantly rewrite the past to form a narrative which cuts out the non-critical points – and which replaces luck and random experimentation with conscious intent.

For most digital-age writers, writing is rewriting. We grope, cut, block, paste, and twitch, panning for gold onscreen by deleting bucketloads of crap. Our analog ancestors had to polish every line mentally before hammering it out mechanically. Rewrites cost them months, meters of ink ribbon, and pints of Tippex. Poor sods.

As we roll and pat and press the snow into new shapes, I pray that my memories are just as malleable as the snow in my hands. Hopefully my past is as rewritable as I'm pretending it can be.

Who are you not to be great? You, with the imagination of a brilliant child and the powers of an ancient god. Who are you to be ordinary? You, who can resend life or raise the dead. Who are you to be afraid? You, who can serve as judge and jury while hoarding infinite lives. Who are you to be a slave to the past? You who can travel time like the oceans or rewrite history with a single word. Who are you to be anonymous? You whose names should be spoken in reverend tones or terrified whispers. And who are you to deny greatness? If you would deny it to yourself, you deny it to the entire world. And we will not be denied.

I swallow hard and yank out my earbuds. I push the tears back down. I'm sick of crying every time I see or hear or feel something that reminds me of her. But before I can move on, I have to shake off the weight of my past. Of our past. I need to rewrite our prologue before it destroys me. So that's exactly what I'm going to do.

The adjective so often coupled with mercy is the word tender, but God’s mercy is not tender; this mercy is a blunt instrument. Mercy doesn’t wrap a warm, limp blanket around offenders. God’s mercy is the kind that kills the thing that wronged it and resurrects something new in its place. In our guilt and remorse, we may wish for nothing but the ability to rewrite our own past, but what’s done cannot, will not, be undone. But I am here to say that in the mercy of  God it can be redeemed. I cling to the truth of  God’s ability to redeem us more than perhaps any other. I have to. I need to. I want to. For when we say “Lord have mercy,” what else could we possibly mean than this truth?

I could not sleep without proper covering and instead spent the rest of the night rewriting lost arguments from my past, altering history so that I emerged victorious.

Because I believe we all deserve the chance to be seen for who we are in our present, not for who we’ve been in our past. Because I believe that while you can’t rewrite life’s previous chapters, you have every present moment to do something new, something better, and I hold on to hope that anyone who wants to can shape their life into a story they’re proud of.

Neurosis is the rule, not the exception’, and grasping this can help us to see that we are not alone. It is also the starting point for understanding what went wrong and learning that we have a choice: we can simply re-enact the past, or we can rewrite the script.

What Tengo would have to do, it seemed, was take a hard, honest look at the past while standing at the crossroads of the present. Then he could create a future, as thought he were rewriting the past.It was the only way

Right now each of us is a private oral culture. We rewrite our pasts to suit our needs and support the story we tell about ourselves. With our memories we are all guilty of a Whig interpretation of our personal histories, seeing our former selves as steps toward our glorious present selves.

If I died –” – Nick “Your father would have another child. That one won’t have your humanity. Your mother is what makes you special, Nick. Adarian’s next woman wouldn’t be her. His child wouldn’t be you. All of us are a culmination of vital parts of our parents and their pasts. A vital part of the circumstances we were raised with. Everything that happens to us, good and bad, leaves a lasting impression on our souls. You take one part of that out, and you can completely rewrite something crucial about us. By and large, we’re not shaped by the big things. It’s the little, day-to-day moments that make us who we are. Who we’re going to be.” – Nekoda

It's so hard, when you fall for someone—the temptation is to look back on the past and rewrite things so they seem more significant. There's a part of me going: Did I know? Did I know the first time we met that you would change everything? That you would change me?

You just couldn't get hold of the things you had done and turn them right again. Such power might be given to the gods, but it was not given to men and women, and that was probably a good thing. Had it been otherwise, people would probably die of old age still trying to rewrite their teens. If you knew that past was out of reach, maybe you could forgive.

They shout that they want to shape a better future, but it's not true. The future is only an indifferent void no one cares about,but the past is filled with life, and its countenance is irritating, repellent, wounding, to the point that we want to destroy it or repaint it. We want to be the masters of the future only for the power to change the past. We fight for access to the labs where we can retouch photos and rewrite biographies and history.

Each of us becomes a new person as we redescribe the past.

When we forgive, we do not erase the past, but rewrite its meaning—transforming wounds into wisdom and enemies into teachers.

What is fact? What records did the church, in its misguided attempt to cleanse the past of perceived contradictions, rewrite to suit its preferred narrative?

You can't rewrite the past. -pg 60

you can’t rewrite the past. But you can choose to live with your whole heart in the here and now.

It occurred to Soo-Ja that if she gave him permission, he'd kiss her right then and there. But she realized that all along, what she really wasn't to have him in the present - how could she, married woman that she was, married man that he was — but to rewrite the past, have him go back in time and create a version that allowed them to kiss. To be able to kiss him did not seem to take much — a step forward, the angling of her face. But, in fact, it required rearranging the molecules of every interaction they had ever had, from the very first day they met.

Be the man who has the spirit of a ruthless tiger, ravaging every dusty corner of my soul. Be the man for whom I will tame myself voluntarily.. Be the man who can make me forget my birth date in moments of utter dellusion. Be the man whose arms are my harbor, whose lips are my shore, and whose name is my only salvation. Be the man who erases my past and draws my future with trails of roses and kisses. Be the man who makes me sigh behind the windows of Poetry, longing to be written. Be the man whose cigarette's ashes are confounded with mine. Be the man whose voice moves mountains inside me. Be the man whose eyes devour the innocence within me with every piercing glance. Be the man for whom I will transform exceptions into rules. Be the man who will dare to tear this poem from my hands. The man who will rewrite with the uncertainty of the futur every single one of my verses.

I tried to read this book, Huckleberry Finn, to my grandchildren, but I couldn't get past page six because the book is fraught with the 'n-word'. And although they are the deepest-thinking, combat-ready eight- and ten-year-olds I know, I knew my babies weren't ready to comprehent Huckleberry Finn on its own merits. That's why I took the liberty to rewrite Mark Twain's masterpiece. Where re repugnant 'n-word' occurs, I replaced it with 'warrior' and the word 'slave' with 'dark-skinned volunteer'.

This was what was wonderful, standing alone in the big, soft night rewriting the past to make myself miss what had never been. Now that it was over, I could turn the past into anything I wanted. I could revise the empty space inside me so that it had a better shape: the outline of a happy childhood.

Self knowledge is a virtue in its own right. We value the way in which people can fulfill their own natures by gaining an unsentimental self understanding. We think it is good to grow, for all our vices, into someone who is mature enough to face the past and the present, someone who understands how character, in its weaknesses as well as its strengths, is made of interlocking tendencies and gifts that have grown in the course of a life. The image of growth and maturing is Aristotelian rather than Kantian. These ancient values are ideals that none fully achieve, and yet they are modest, not seeking to find a meaning in life, but finding excellence in living and honoring life and its potentialities.

I didn't realize. I wasn't trying to rewrite history. You couldn't if you wanted to. It already happened. It don't matter if anyone remembers it or not. He paused. Abbs, you're tryin' to find hope in the past, but the world and its lusts are passing away. Hope belongs to the future. -Abby Wells and Will Laughlin

Humans have the ability to rewrite history. Within a few decades it is not even questioned. Stories of the past become as real as the world you walk through today. Wars are waged over false history. Sins are denied. All for mankind to move forward and feel comfortable about its past. Your true history is written in the stars. Look up, breathe in, and be humbled by the ones who came before you. The ones who have suffered, who have endured, who have overcome. Their blood is alive in you. Their spirits roam freely in the heavens above.

You can’t take away the past; you can only add to the narrative. There is a narrative about Muslims that already exists. I’m not here to undo or rewrite history. That is propaganda or an impossibility. What I, and others, can do is expand on the notion of what it means to be Muslim, continue the story line that survives alongside us.

As a construct, history is too often revised to match contemporary views. It has been said that each generation must rewrite history in order to understand it. The opposite is true. Moderns revise history to make it palatable, not to understand it. Those who edit “history” to popular taste each decade will never understand the past—neither the horrors nor glories of which the human race is equally capable—and for that reason, they will fail to understand themselves.

Symbolism is important. And freedom... You will not understand this, Princess Malini. But there is a subtle pain the conquered feel. Our old language is nearly lost. Our old ways. Even when we try to explain a vision of ourselves to one another—in our poetry, our song, our theater masks—we do so in opposition to you, or by looking to the past. As if we have no future. Parijatdvipa has reshaped us. It is not a conversation, but a rewriting. The pleasure of security and comfort can only ease the pain for so long.

Studying history aims to loosen the grip of the past. It enables us to turn our head this way and that, and begin to notice possibilities that our ancestors could not imagine, or didn’t want us to imagine. By observing the accidental chain of events that led us here, we realise how our very thoughts and dreams took shape – and we can begin to think and dream differently. Studying history will not tell us what to choose, but at least it gives us more options. Movements seeking to change the world often begin by rewriting history, thereby enabling people to reimagine the future. Whether you want workers to go on a general strike, women to take possession of their bodies, or oppressed minorities to demand political rights – the first step is to retell their history. The new history will explain that ‘our present situation is neither natural nor eternal. Things were different once. Only a string of chance events created the unjust world we know today. If we act wisely, we can change that world, and create a much better one.’ This is why Marxists recount the history of capitalism; why feminists study the formation of patriarchal societies; and why African Americans commemorate the horrors of the slave trade. They aim not to perpetuate the past, but rather to be liberated from it.

But either way, the fruit of turning to God—before we sin, after we’ve sinned, even right there in the middle of our sin—is where Christians go to experience the flavors of God-fearing honor, gratitude, dependence, worship, confidence, trust, freedom, revival. Even those sins from our past that have been the most regrettable, the most difficult to move beyond—the ones we’d give anything if we could go back and do over again—Christ is able to redeem and rewrite even those into masterful sequels and come-from-behind victories. He takes what’s given us fits for so long and gives us instead a reason to celebrate what He’s done. To celebrate our redemption. To celebrate our Redeemer.

All of us are a culmination of vital parts of our parents and our pasts. A vital parts of the circumstances we were raised with. Everything that happens to us, good and bad, leaves a lasting impression on our souls. You take one part of that out, and you can rewrite something crucial about us. By and large, we're not shaped by the big things. It's the little, day-to-day moments that make us who we are. Who we're going to be.

time past was time past. You just couldn’t get hold of the things you had done and turn them right again. Such power might be given to the gods, but it was not given to men and women, and that was probably a good thing. Had it been otherwise, people would probably die of old age still trying to rewrite their teens.

In your schoolbooks, you won't find anything about the Land Reform nor about the internal fighting of the Viet Minh. A part of our country's history has been erased, together with the lives of countless people. We're forbidden to talk about events that relate to past mistakes or the wrongdoing of those in power, for they give themselves the right to rewrite history. But you're old enough to know that history will write itself in people's memories, and as long as those memories live on, we can have faith that we can do better.

I felt my spirits lift. I would leave the map of my life here, in Jaipur. I would leave behind a hundred thousand henna strikes. I would no longer call myself a henna artist but tell anyone who asked : I healed, I soothed. I made whole. I would leave behind the useless apologies for my disobedience. I would leave behind my yearning to rewrite my past. My skills, my eagerness to learn and my desire for a life I could call my own - these were things I would take with me. They were part of me the way my blood, my breath, my bones were

Sophie Kruger had worked in a house herself, up in Middle Swan. But now she pretended she was quality. There were none so self-righteous as those who rewrote their past.

I would leave behind the useless apologies for my disobedience. I would leave behind the yearning to rewrite my past.

Do you want to rewrite the past?” “Don’t you want to rewrite the past?” She shook her head. “No, I don’t have the slightest desire to rewrite the past or history or whatever. What I’d like to rewrite is the present, here and now.” “But if you rewrote the past, obviously, the present would change, too. What we call the present is given shape by an accumulation of the past.

How do you forgive? You choose to release it, you pray for your enemy, and, I think probably most importantly, you recognize that God is standing with you—and he will have the final word.

Say you want to make things right, to build a better future. But erasing the past—or worse, trying to rewrite it—is the tool of despots. Only by engaging with the past can we avoid repeating it.

It has been said that each generation must rewrite history in order to understand it. The opposite is true. Moderns revise history to make it palatable, not to understand it. Those who edit “history” to popular taste each decade will never understand the past—neither the horrors nor glories of which the human race is equally capable—and for that reason, they will fail to understand themselves.

The temporary alliance between the elite and the mob rested largely on this genuine delight with which the former watched the latter destroy respectability. This could be achieved when the German steel barons were forced to deal with and to receive socially Hitler's the housepainter and self-admitted former derelict, as it could be with the crude and vulgar forgeries perpetrated by the totalitarian movements in all fields of intellectual life, insofar as they gathered all the subterranean, nonrespectable elements of European history into one consistent picture. From this viewpoint it was rather gratifying to see that Bolshevism and Nazism began even to eliminate those sources of their own ideologies which had already won some recognition in academic or other official quarters. Not Marx's dialectical materialism, but the conspiracy of 300 families; not the pompous scientificality of Gobineau and Chamberlain, but the "Protocols of the Elders of Zion"; not the traceable influence of the Catholic Church and the role played by anti-clericalism in Latin countries, but the backstairs literature about the Jesuits and the Freemasons became the inspiration for the rewriters of history. The object of the most varied and variable constructions was always to reveal history as a joke, to demonstrate a sphere of secret influences of which the visible, traceable, and known historical reality was only the outward façade erected explicitly to fool the people. To this aversion of the intellectual elite for official historiography, to its conviction that history, which was a forgery anyway, might as well be the playground of crackpots, must be added the terrible, demoralizing fascination in the possibility that gigantic lies and monstrous falsehoods can eventually be established as unquestioned facts, that man may be free to change his own past at will, and that the difference between truth and falsehood may cease to be objective and become a mere matter of power and cleverness, of pressure and infinite repetition. Not Stalin’s and Hitler's skill in the art of lying but the fact that they were able to organize the masses into a collective unit to back up their lies with impressive magnificence, exerted the fascination. Simple forgeries from the viewpoint of scholarship appeared to receive the sanction of history itself when the whole marching reality of the movements stood behind them and pretended to draw from them the necessary inspiration for action.

What Tengo would have to do, it seemed, was take a hard, honest look at the past while standing at the crossroads of the present. Then he could create a future, as though he were rewriting the past. It was the only way.

Never say that,” he insisted. “Say you want to make things right, to build a better future. But erasing the past—or worse, trying to rewrite it—is the tool of despots. Only by engaging with the past can we avoid repeating it.

Living when others died wasn’t something you just woke up one day and got over, even though sometimes it felt that way. [...] It just took time and family and friends and love to come to terms with the fact that life did move on. Life kept going, and you couldn’t be left behind, living in a past that no longer existed. [...] I knew I couldn’t go back and start a new beginning. I couldn’t rewrite the middle. All I could do was change tomorrow, as long as I had one.

The beginning cannot be changed because it is the past, but you can always rewrite the ending.”                                                                                                                                                      -TiTi

I'm not into writing many more books or more pages. My goal is to increase the value of each sentence I write. And for that, I have to just erase my past and bring only forward what matches the new me, things I can easily rewrite and adapt to my new perspective.

Fascist politicians justify their ideas by breaking down a common sense of history in creating a mythic past to support their vision for the present. They rewrite the population’s shared understanding of reality by twisting the language of ideals through propaganda and promoting anti-intellectualism, attacking universities and educational systems that might challenge their ideas. Eventually, with these techniques, fascist politics creates a state of unreality, in which conspiracy theories and fake news replace reasoned debate.

Let God begin to rewrite your story. Invite him to show you your past through his eyes. Ask him to surface good memories you have forgotten. He would love to do it. There is healing to be had there. There is a replacing of regret with mercy. Though our past has shaped us, we are not our past. Though our failures and sin have had an effect on who we are, we are not defined by our failures or our sin. Though thought patterns and addictions have overwhelmed us, we are not overcome by them and we will never be overcome by them. Jesus has won our victory. Jesus is our victory.

Our memories are in part reconstructions. Whenever we retrieve a memory, the brain rewrites it a bit, updating the past according to our present concerns and understanding. At the cellular level, LeDoux explains, retrieving a memory means it will be “reconsolidated,” slightly altered chemically by a new protein synthesis that will help store it anew after being updated.40 Thus each time we bring a memory to mind, we adjust its very chemistry: the next time we retrieve it, that memory will come up as we last modified it. The specifics of the new consolidation depend on what we learn as we recall it. If we merely have a flare-up of the same fear, we deepen our fearfulness. But the high road can bring reason to the low. If at the time of the fear we tell ourselves something that eases its grip, then the same memory becomes reencoded with less power over us. Gradually, we can bring the once-feared memory to mind without feeling the rush of distress all over again. In such a case, says LeDoux, the cells in our amygdala reprogram so that we lose the original fear conditioning.41 One goal of therapy, then, can be seen as gradually altering the neurons for learned fear.

Memories are peculiar...You think the past is there, all fixed and stable, but it is really chock full of surprises and endlessly susceptible to change...So maybe it is true that we are constantly rewriting our past; they are not something fixed and unchangeable for all time. There is a basic structure, of course, a canvas stretched across boards, which cannot be remodeled at will, but the surface of that canvas can be shaded, rearranged, touched up, continually worked on to correspond to the needs of the present. In fact, the present moment is largely the focal point from which you shape the direction of your future and juggle the implications of your past.

We don't normally think of it as such, but writing is a technology, which means that a literate person is someone whose thought processes are technologically mediated. We became cognitive cyborgs as soon as we became fluent readers, and the consequences of that were profound. Before a culture adopts the use of writing, when its knowledge is transmitted exclusively through oral means, it can very easily revise its history. It's not intentional, but it is inevitable; throughout the world, bards and griots have adapted their material to their audiences and thus gradually adjusted the past to suit the needs of the present. The idea that accounts of the past shouldn't change is a product of literate cultures' reverence for the written word. Anthropologists will tell you that oral cultures understand the past differently; for them, their histories don't need to be accurate so much as they need to validate the community's understanding of itself. So it wouldn't be correct to say that their histories are unreliable; their histories do what they need to do. Right now each of us is a private oral culture. We rewrite our pasts to suit our needs and support the story we tell about ourselves. With our memories we are all guilty of a Whig interpretation of our personal histories, seeing our former selves as steps toward our glorious present selves.

Overthinking is an outcome of unfavourable past experiences. One starts imagining the worst.. and then it is equally true that one is not aware of this... That's the first step...To observe yourself.. Starting with just 05 minutes every day can get you to a place where it will be possible for controlling this programmed behaviour and rewrite a better one..

if in the years before she had met them she hadn’t exactly been a nun … time past was time past. You just couldn’t get hold of the things you had done and turn them right again. Such power might be given to the gods, but it was not given to men and women, and that was probably a good thing. Had it been otherwise, people would probably die of old age still trying to rewrite their teens.

Pham Nuwen spent years learning to program/explore. Programming went back to the beginning of time. It was a little like the midden out back of his father’s castle. Where the creek had worn that away, ten meters down, there were the crumpled hulks of machines—flying machines, the peasants said—from the great days of Canberra’s original colonial era. But the castle midden was clean and fresh compared to what lay within the Reprise’s local net. There were programs here that had been written five thousand years ago, before Humankind ever left Earth. The wonder of it—the horror of it, Sura said—was that unlike the useless wrecks of Canberra’s past, these programs still worked! And via a million million circuitous threads of inheritance, many of the oldest programs still ran in the bowels of the Qeng Ho system. Take the Traders’ method of timekeeping. The frame corrections were incredibly complex—and down at the very bottom of it was a little program that ran a counter. Second by second, the Qeng Ho counted from the instant that a human had first set foot on Old Earth’s moon. But if you looked at it still more closely. . .the starting instant was actually some hundred million seconds later, the 0-second of one of Humankind’s first computer operating systems. So behind all the top-level interfaces was layer under layer of support. Some of that software had been designed for wildly different situations. Every so often, the inconsistencies caused fatal accidents. Despite the romance of spaceflight, the most common accidents were simply caused by ancient, misused programs finally getting their revenge. “We should rewrite it all,” said Pham. “It’s been done,” said Sura, not looking up. She was preparing to go off-Watch, and had spent the last four days trying to root a problem out of the coldsleep automation. “It’s been tried,” corrected Bret, just back from the freezers. “But even the top levels of fleet system code are enormous. You and a thousand of your friends would have to work for a century or so to reproduce it.” Trinli grinned evilly. “And guess what—even if you did, by the time you finished, you’d have your own set of inconsistencies. And you still wouldn’t be consistent with all the applications that might be needed now and then.” Sura gave up on her debugging for the moment. “The word for all this is ‘mature programming environment.’ Basically, when hardware performance has been pushed to its final limit, and programmers have had several centuries to code, you reach a point where there is far more signicant code than can be rationalized. The best you can do is understand the overall layering, and know how to search for the oddball tool that may come in handy—take the situation I have here.” She waved at the dependency chart she had been working on. “We are low on working fluid for the coffins. Like a million other things, there was none for sale on dear old Canberra. Well, the obvious thing is to move the coffins near the aft hull, and cool by direct radiation. We don’t have the proper equipment to support this—so lately, I’ve been doing my share of archeology. It seems that five hundred years ago, a similar thing happened after an in-system war at Torma. They hacked together a temperature maintenance package that is precisely what we need.” “Almost precisely.

But, it’s not like I ever let my guard down. It’s not like I ever feel safe in this new life. I am an interloper obsessed with honing my facade. I’ve built my entire life—my new life—around keeping my past a secret. My husband knows bits and pieces, but even the little bits he knows have been reshaped and colored by my persistent rewriting and massaging of the “facts.” I shudder to think what would happen if he knew the truth of who I was. The whole truth.

You will not understand this, Princess Malini. But there is a subtle pain the conquered feel. Our old language is nearly lost. Our old ways. Even when we try to explain a vision of ourselves to one another—in our poetry, our song, our theater masks—we do so in opposition to you, or by looking to the past. As if we have no future. Parijatdvipa has reshaped us. It is not a conversation, but a rewriting. The pleasure of security and comfort can only ease the pain for so long.

What Kant took to be the necessary schemata of reality,' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go--or, to put it the other way, how far one may cultivate fictional patterns or paradigms--is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'--'what is past and passing and to come'--and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End,' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.

We all do it. Replay the horrific moments of our lives and reimagine them by going left instead of right, being this person instead of that person, making different choices. You don’t have to be locked up to occupy your mind and your days trying to rewrite a painful past or undo a terrible tragedy or make right a terrible wrong. But pain and injustice happen- they happen to us all. I’d like to believe it’s what you choose to do after such an experience that matters the most- that truly changes your life forever. I’d really like to believe that.

What is new about new historicism in particular is its recognition that history is the ‘history of the present’ (to borrow a phrase from the godfather of new historicism, Michel Foucault (see Foucault 1995, 29)), history is in the making rather than being monumental and closed, history is radically open to transformation and rewriting. Such work is motivated, as one commentator puts it, ‘not by a historical concern to understand the past’ so much as by ‘a critical concern to understand the present’ (Garland 2014, 373) and with how the present came to be as it is. New

Analogous to looping your favorite songs in a repeating playlist at night, we cherry-pick specific slices of your autobiographical past, and preferentially strengthen them by using the individualized sound cues during sleep.VIII I’m sure you can imagine innumerable uses for such a method. That said, you may also feel ethically uncomfortable about the prospect, considering that you would have the power to write and rewrite your own remembered life narrative or, more concerning, that of someone else. This moral dilemma is somewhat far in the future, but should such methods continue to be refined, it is one we may face.

Fascist politicians justify their ideas by breaking down a common sense of history in creating a mythic past to support their vision for the present. They rewrite the population’s shared understanding of reality by twisting the language of ideals through propaganda and promoting anti-intellectualism, attacking universities and educational systems that might challenge their ideas. Eventually, with these techniques, fascist politics creates a state of unreality, in which conspiracy theories and fake news replace reasoned debate. As the common understanding of reality crumbles, fascist politics makes room for dangerous and false beliefs to take root. First, fascist ideology seeks to naturalize group difference, thereby giving the appearance of natural, scientific support for a hierarchy of human worth. When social rankings and divisions solidify, fear fills in for understanding between groups. Any progress for a minority group stokes feelings of victimhood among the dominant population. Law and order politics has mass appeal, casting “us” as lawful citizens and “them,” by contrast, as lawless criminals whose behavior poses an existential threat to the manhood of the nation. Sexual anxiety is also typical of fascist politics as the patriarchal hierarchy is threatened by growing gender equity. As the fear of “them” grows, “we” come to represent everything virtuous.

At some point the future becomes reality. And then it quickly becomes the past. In his novel, George Orwell depicted the future as a dark society dominated by totalitarianism. People are rigidly controlled by a dictator named Big Brother. Information is restricted, and history is constantly being rewritten. The protagonist works in a government office, and I'm pretty sure his job is to rewrite words. Whenever a new history is written, the old histories all have to be thrown out. In the process, words are remade, and the meanings of current words are damaged. What with history being rewritten so often, nobody knows what is true anymore. They lose track of who is an enemy and who an ally. It's that kind of story.

In order to change a belief or perception about yourself and your life, you have to make a decision with such firm intention that the choice carries an amplitude of energy that is greater than the hardwired programs in the brain and the emotional addiction in the body, and the body must respond to a new mind. When the choice creates a new inner experience that becomes greater than the past outer experience, it will rewrite the circuits in your brain and resignal your body emotionally. Since experiences create long-term memories, when the choice becomes an experience that you never forget, you are changed. Biologically, the past no longer exists. We could say that your body in that present moment is in a new future. Now

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.

Astonishment: these women’s military professions—medical assistant, sniper, machine gunner, commander of an antiaircraft gun, sapper—and now they are accountants, lab technicians, museum guides, teachers…Discrepancy of the roles—here and there. Their memories are as if not about themselves, but some other girls. Now they are surprised at themselves. Before my eyes history “humanizes” itself, becomes like ordinary life. Acquires a different lighting. I’ve happened upon extraordinary storytellers. There are pages in their lives that can rival the best pages of the classics. The person sees herself so clearly from above—from heaven, and from below—from the ground. Before her is the whole path—up and down—from angel to beast. Remembering is not a passionate or dispassionate retelling of a reality that is no more, but a new birth of the past, when time goes in reverse. Above all it is creativity. As they narrate, people create, they “write” their life. Sometimes they also “write up” or “rewrite.” Here you have to be vigilant. On your guard. At the same time pain melts and destroys any falsehood. The temperature is too high! Simple people—nurses, cooks, laundresses—behave more sincerely, I became convinced of that…They, how shall I put it exactly, draw the words out of themselves and not from newspapers and books they have read—not from others. But only from their own sufferings and experiences. The feelings and language of educated people, strange as it may be, are often more subject to the working of time. Its general encrypting. They are infected by secondary knowledge. By myths. Often I have to go for a long time, by various roundabout ways, in order to hear a story of a “woman’s,” not a “man’s” war: not about how we retreated, how we advanced, at which sector of the front…It takes not one meeting, but many sessions. Like a persistent portrait painter. I sit for a long time, sometimes a whole day, in an unknown house or apartment. We drink tea, try on the recently bought blouses, discuss hairstyles and recipes. Look at photos of the grandchildren together. And then…After a certain time, you never know when or why, suddenly comes this long-awaited moment, when the person departs from the canon—plaster and reinforced concrete, like our monuments—and goes on to herself. Into herself. Begins to remember not the war but her youth. A piece of her life…I must seize that moment. Not miss it! But often, after a long day, filled with words, facts, tears, only one phrase remains in my memory (but what a phrase!): “I was so young when I left for the front, I even grew during the war.” I keep it in my notebook, although I have dozens of yards of tape in my tape recorder. Four or five cassettes… What helps me? That we are used to living together. Communally. We are communal people. With us everything is in common—both happiness and tears. We know how to suffer and how to tell about our suffering. Suffering justifies our hard and ungainly life.