The Memory Collectors Quotes

Every passion borders on the chaotic, but the collector's passion borders on the chaos of memories.

Smells are custodians of memories.

When it comes to my memory there are three categories: things I want to forget, things I can't forget, and things I'd forgotten until I remember them.

Every passion borders on chaos, that of the collector on the chaos of memory.

Scars fade. They don't disappear. It isn't right. We live with the memories; why do we have to live with the scars as well?

I adore forgotten words, long lost folk tales, and books with pages soft and crumbling. I am a collector of scents and memories. The things that others bury are the things I hold most dear.

You see, nothing is more immediate, more complete than the sense of smell. In an instant, it has the power to transport you. Your olfactory sense connects not to the memory itself, but to the emotion you felt when that memory was made. To recreate a scent memory is one of the most challenging, eloquent pursuits possible. It’s poetry, in its most immediate form.

...certain smells were the custodians of memory. And once they were unleashed, their effect was instantaneous, like switching on a light – flooding the senses far too quickly and completely. They had the power to transport and overwhelm. For that reason, one needed to be wary of them.

My job is not to sell the books - my father does that - but to look after them. Every so often I take out a volume and read a page or two. After all, reading is looking after in a manner of speaking. Though they're not old enough to be valuable for their age alone, nor improtant enough to be sought after by collectors, my charges are dear to me, even as often as not, they are as dull on the inside as on the outside. No matter how banal the contents, there is always something that touches me. For someone now dead once thought these words significant enough to write them down. People disappear when they die. Their voice, their laughter, the warmth of their breath. Their flesh. Eventually their bones. All living memory of them ceases. This is both dreadful and natural. Yet for some there is an exception to this annihilation. For in the boooks they write they continue to exist. We can rediscover them. Their humor, their tone of voice, their moods. Through the written word they can anger you or make you happy. They can comfort you. They can perplex you. They can alter you. All this, even though they are dead. Like flies in amber, like corpses frozen in ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic. As one tends the graves of the dead, so I tend the books. I clean them, do minor repairs, keep them in good order. And every day I open a volume or two, read a few lines or pages, allow the voices of the forgotten dead to resonate inside my head. Do they sense it, these dead writers, when their books are read? Does a pinprick of light appear in their darkness? Is their soul stirred by the feather touch of another mind reading theirs? I do hope so. For it must be very lonely being dead.

After all, much of the fondness avid readers, and certainly collectors, have for their books is related to the books' physical bodies. As much as they are vessels for stories (and poetry, reference information, etc.), books are historical artifacts and repositories for memories-we like to recall who gave books to us, where we were when we read them, how old we were, and so on.

Sussman had the ability to seize facts and lock them in his memory, where they remained poised for instants recall. More than any other editor at the Post, or Bernstein and Woodward, Sussman became a walking compendium of Watergate knowledge, a reference source to be summoned when even the library failed. On a deadline, he would pump these facts into a story in a constant infusion, working up a body of significant information to support what otherwise seemed like the weakest of revelations. In Sussman's mind, everything fitted. Watergate was a puzzle and he was a collector of the pieces. -- Carl Bernstein, Bob Woodward

Maybe you can't force happiness on a person. But you can build a place where a person could find happiness when they're ready for it.

He didn’t know what it was like to live between memory and regret with nothing to numb it.

...someone ought to invent a tool, a kind of plane to shave the lies away from stories and deception away from memories. I'm a collector of shavings.

Some people are great collectors of secrets. They roll around, like swine, in the muck of them. They gloat with pride to be the bearer of indelicate news. I

Every passion borders on the chaotic, but the collector’s passion borders on the chaos of memories. —Walter Benjamin, “Unpacking My Library

People matter most, Evelyn. Not things. Never forget that.

He didn’t know what it was like to live between memory and regret

We live with the memories; why do we have to live with the scars as well?

I am a self-confessed collector of memories.

Scent memory is incredibly personal; a very private experience.

Hearts can do that, you know: hold on to something when the rest of you has forgotten about it. Hearts have longer memories than brains.

We think all we are is what we see on the surface. But there’s always more.

Everywhere you walk, every place you go is full of art, explicit or hidden! If you can see them, you will be the richest art collector and your memory will be the richest art gallery!

I'm a consoomer. Instead of wall-to-wall Funko Pops, I collect ducks, and I store them all in a pen at night where they can be on display to inspire jealous desire in foxes, coyotes, and Miss Marple.

بیشتر مردم گمان می کنند یک الهام بخش، مخلوقی با زیبایی و وقار و ظرافت کامل است، شبیه مخلوقات اسطوره ای یونان، آنها اشتباه می کنند. در حقیقت، باید کمبود قابل ملاحظه ای از کمال در یک الهام بخش وجود داشته باشد؛ یک روزنه ی باز بین چیزی که هست و چیزی که ممکن است باشد. الهام بخش ایدئال، زنی است که نقایص کوچک و تناقضاتش تو را به پر کردن فاصله های خالی شخصیتش بکشانند. او برانگیزاننده ی خلاقیت توست، یک فرصت بی نظیر منتظر شکل گیری است.

Language shows clearly that memory is not an instrument for exploring the past but its theater. It is the medium of past experience, as the ground is the medium in which dead cities lie interred. He who seeks to approach his own buried past must conduct himself like a man digging. This confers the tone and bearing of genuine reminiscences. He must not be afraid to return again and again to the same matter, to scatter it as one scatters earth, to turn it over as one turns over soil. For the matter itself is only a deposit, a stratum, which yields only to the most meticulous examination what constitutes the real treasure hidden within the earth: the images, severed from earlier associations, that stand—like precious fragments or torsos in a collector’s gallery—in the prosaic rooms of our later understanding.

Cricket’s voice broke through Thomas’s memory. He was reading a letter, most likely from his mother. He was trying hard to hide it, but he was tearing up. “Captain I don’t want to be here,” was all he could choke out. Thomas reached over and gave Cricket’s shoulder a tight squeeze.

In languages with a garbage collector (GC), the GC keeps track and cleans up memory that isn’t being used anymore, and we don’t need to think about it. Without a GC, it’s our responsibility to identify when memory is no longer being used and call code to explicitly return it, just as we did to request it. Doing this correctly has historically been a difficult programming problem. If we forget, we’ll waste memory. If we do it too early, we’ll have an invalid variable. If we do it twice, that’s a bug too. We need to pair exactly one allocate with exactly one free. Rust takes a different path: the memory is automatically returned once the variable that owns it goes out of scope.

I have owned, I confess, thousands of objects. Even if today most of them are nothing more than memories, I continue to seek, to find, to acquire. Acquisition, being, for some mysterious reason, the most important act, like a gambler throwing dice. The idea of speculation has never crossed my mind, nor of "decoration." Collecting is for me both essential and completely useless.

My archive project is a multiedged sword. It is something I love doing, but it raises some questions about my motives in doing it. A writer accused me of building my archives just to further my own legend, whatever that is. I hope you don't believe that. What a shallow existence that would be! I remember reading that article saying that about me. It pissed me off. It's my life, and I am a collector. I collect everything: cars, trains, manuscripts, photographs, tape recordings, records, memories and clothes, to name a few. The fact that I want to create a chronological history of my recordings and supporting work is proof positive that I am an incurable collector, confronted with an amazingly detailed array of creations that I have painstakingly rat-holed over the years.

In death, You’ll join the other fools Who thought themselves wise On this unfulfilling side of life, And as they tumbled down to oblivion Their memory already forgotten You’ll remember - before the last step - This earthly ground was a test An examination of the contorted spirit That before the reaper walks you out You must pass or fail Like all the rest Before you rest in peace Give ‘em hell, Although soul weary, you must Give em your best Dance, skeleton. Marionette those bones and that mind Clavicle, Achilles tendon and cranium, You’re no different than all before or all after -Sonnet for the Skull Collector

Mrs Coote was a good friend of their mother and the source for the ‘small thin sour woman’ who comes to tea to be served ‘wafer-thin bread and butter’ sandwiches in Company.96 Mr Coote was a dedicated, highly professional philatelist and obtained many of Frank’s rarer stamps for him.97 For Beckett remembered his brother as being a much keener collector than he ever was himself.98 Memories of such hours spent browsing, but also bickering, with his brother over their favourite stamps insinuate themselves into Beckett’s mature writing. Jacques Moran asks in Molloy: Do you know what he was doing? Transferring to the album of duplicates, from his good collection properly so-called, certain rare and valuable stamps which he was in the habit of gloating over daily and could not bring himself to leave, even for a few days. Show me your new Timor, the five reis orange, I said. He hesitated. Show it to me! I cried.99

Are you jealous?” I told Swann that I had never felt jealousy, that I did not even know what it was. “Well, I congratulate you! When you’re a little bit jealous, it’s not altogether unpleasant, from two points of view. For one thing, because it enables people who are not inquisitive to interest themselves in the lives of other people, or at least of one other person. And then because it gives you quite a good sense of the sweetness of possession, of getting into a carriage with a woman, of not letting her go off alone. But that’s only in the very early stages of the disease, or when the cure is almost complete. In between, it’s the most frightful of tortures. Moreover, I have to say that I’ve seldom experienced even the two forms of sweetness I’m referring to; the first by the fault of my nature, which is incapable of any very prolonged reflection; the second because of circumstances, by the fault of the woman, I mean of the women, of whom I’ve been jealous. But that doesn’t matter. Even when you no longer care about things, it still means something that you did so once, because it was always for reasons that escaped other people. We feel that the memory of those feelings is only in us; it’s into ourselves we must return in order to look at it. Don’t make too much fun of the idealist jargon, but what I mean is that I’ve loved life and have loved the arts. Well, now that I’m a bit too tired to live with other people, these old feelings that I’ve had, so personal to myself, seem very precious to me, which is the obsession of every collector.

All of a sudden (in 1938 I think), in order to extend its autarchy to the domain of cinema, Italy decreed an embargo on American films. It wasn’t a question of censorship: as usual the censors granted or denied permission to individual films, and nobody saw the ones that didn’t get it and that was it. In spite of the awkward anti-Hollywood propaganda campaign that accompanied the measure (right around that time the regime began to conform to Hitler’s racism), the true reason for the embargo was supposed to be commercial protectionism, in order to make room in the market for Italian (and German) productions. For this reason the four largest American production and distribution companies—Metro, Fox, Paramount, Warner—(I’m still relying on memory, trusting the accuracy of the registration of my trauma), whereas films by other American companies like RKO, Columbia, Universal, United Artists (which had also been distributed before then by Italian companies) continued to arrive until 1941, that is until Italy found itself at war with the United States. I was still granted some sporadic satisfaction (in fact, one of the greatest: Stagecoach [John Ford, 1939]) but my collector’s voracity suffered a fatal blow. Compared to all of the prohibitions and obligations that fascism had imposed on us, and to the even more severe ones that it continued to enforce in those years before and then during the war, the veto on American films was certainly a minor or small loss, and I wasn’t foolish enough not to know it. Yet it was the first to affect me directly, and I hadn’t known any years other than those of fascism nor had I felt any needs other than those that the environment in which I lived could suggest and satisfy. It was the first time a right I enjoyed had been taken from me: more than a right, a dimension, a world, a space in my mind; and I felt this loss as cruel oppression which embodied all the forms of oppression that I’d heard about or seen other people suffer. If I can still talk about it today like a lost privilege it’s because something disappeared like that from my life, never to return again. So many things had changed after the war was over: I’d changed, cinema had become something else, something different in itself and in relation to me. My biography as a spectator resumed, but it was that of another spectator who wasn’t just a spectator anymore.

Another example of a deep module is the garbage collector in a language such as Go or Java. This module has no interface at all; it works invisibly behind the scenes to reclaim unused memory. Adding garbage collection to a system actually shrinks its overall interface, since it eliminates the interface for freeing objects. The implementation of a garbage collector is quite complex, but that complexity is hidden from programmers using the language.

JavaScript is a garbage-collected language, so you don’t really need to worry about memory allocations when you use reference types. However, it’s best to dereference objects that you no longer need so that the garbage collector can free up that memory. The best way to do this is to set the object variable to null.

I didn’t remind myself of them, didn’t strain to keep them in my memory, because they were indelibly written there.

Facts are only part of the truth. So much can be learned from books beyond what can be found in the words printed on the page ... It's a treasure hunt, an intricate dance through a paper maze, moving from one book to the next in search of nuggets of information, and what untold diversions might be discovered along the way. She's lost entire days in libraries, forgetting why she came in in the first place.

Remember, the object only reflects a feeling that came from a human. It holds a story from where it came from, but it's not alive.

It will never go away completely, but instead of a hardness, it can become a tenderness. Your heart will make room for your memories and you won’t be afraid of them any more.

Leave the Trash Behind" (Verse 1) I've been down that road, where the past lingers on, Holding onto memories, till the break of dawn. But I've learned my lesson, won't repeat that crime, When you take out the trash, don't go digging back through it, it's time. (Chorus) I'm moving on, got my sights set on the new, I've cleared the clutter, my skies are turning blue. I won't be a part of letting you destroy me, I'm leaving the past, where it's meant to be. (Verse 2) You can't recycle, what's meant to stay gone, Old habits, old hurts, it's all been withdrawn. I'm setting my boundaries, I'm drawing the line, When you take out the trash, it's a sign. (Bridge) I'm not a collector of yesterday's news, I'm an architect of the life I choose. No more digging through what's been declined, I'm building a future, one day at a time. (Chorus) I'm moving on, got my sights set on the new, I've cleared the clutter, my skies are turning blue. I won't be a part of letting you destroy me, I'm leaving the past, where it's meant to be. (Outro) So here's to the clean slates, the fresh starts, To the unburdened hearts, playing brand new parts. I'm walking away, from the mess, the grind, 'Cause when you take out the trash, you leave it behind.

Grudges, like animals in a zoo, must be fed daily. If we do not revive them in our memory and water them with our tears, they perish. The practiced grudge collector isn't out of bed in the morning before he has picked up his rosary and begun his endless rounds on it. His greatest fear is that he will lose a bead and have less to feel put back about. He won't part with a single one of them. Why does he fear to forget a single grudge when he has so many of them? Blaming others is an easy way to build up the feeling of our own importance, so that we can console ourselves for not making a bigger splash in the outside world. It is an easy way to feel that we are big shots that are being overlooked. Blaming others gives us a fictitious elevation. It allows us to look down on others. Not many of us are entirely free of the habit of blaming others and holding grudges. Psychological memory is a curse to most of us. But if we listen to our voice blaming, condemning, judging, belittling others, we soon become nauseated with our own holier-than-thou pretense of moral superiority, and we soon become allergic to our own big-me and little-you posture.

Grudges, like animals in a zoo, must be fed daily. If we do not revive them in our memory and water them with our tears, they perish. The practiced grudge collector isn't out of bed in the morning before he has picked up his rosary and begun his endless rounds on it. His greatest fear is that he will lose a bead and have less to feel put back about. He won't part with a single one of them. Why does he fear to forget a single grudge when he has so many of them? Blaming others is an easy way to build up the feeling of our own importance, so that we can console ourselves for not making a bigger splash in the outside world. It is an easy way to feel that we are big shots that are being overlooked. Blaming others gives us a fictitious elevation. It allows us to look down on others. Not many of us are entirely free of the habit of blaming others and holding grudges. Psychological memory is a curse to most of us. But if we listen to our voice blaming, condemning, judging, belittling others, we soon become nauseated with our own holier-than-thou pretense of moral superiority, and we soon become allergic to our own big-me and little-you posture. Self-praise stinks, and we can't stand our own variety. It soon produces instant nausea as an antidote to our habit of injustice collecting, so that we are happy to see the end of it.

Your olfactory sense connects not to the memory itself but to the emotion you felt when that memory was made. It could be argued that all perfume is born out of shame, a self-consciousness of our natural odor. We want to hide it.

Damn it, why couldn't I have a photographic memory!" "Thank God you don't," Caleb exclaimed in a disgusted tone. "What makes you say that?" Reuben demanded hotly. "Because then she'd be calling you Ruby, and I'd have to be sick to my stomach.

We do not hunt them because we want to save humanity. We hunt them because we like killing them. More than a calling, this is everything to us, our only true reason for living. The hollow place in our hearts are filled with each of their deaths. We will never stop.

Their mother had white hands, long tapered fingers, and when she kneaded dough, her wedding ring clinked against the bowl. She was always singing softly as she played the piano with her white hands. She accompanied Emily's dance recitals and she could play anything, but Chopin was the one that Gillian loved. She played Chopin every night, and when she turned the pages, she wasn't really looking at the music. She knew the saddest Waltzes by heart. The saddest were the ones that she knew best, and she would play at bedtime, so falling asleep was like drifting off in autumn forests filled with golden leaves.

Jess herself had not eaten fowl or roast or even fish in years, but the books awakened memories of turkey and thick gravy, and crab cakes, and rib-eye roasts. Redolent of smoke and flame, the recipes repelled and also reminded her of pink and tender meat, and breaking open lobster dripping with sweet butter, and sucking marrow out of the bones.

Everyone expected Emily to take care and take charge. It had always been this way. When her mother was sick, she'd filled out her own permission slips for school. When Jess signed up to bring home the kindergarten rabbit for the weekend, Emily took care of it. 'Look at Emily taking care of her sister,' her New Jersey aunts said to one another after the memorial service. There were no relatives from England. Her English grandparents had died before Emily was born, but the New Jersey aunts were full of admiration. 'What an angel. Look how good she is,' her father's sisters said. Emily knew she was not an angel, but the more she doubted, the better she behaved. At work she was the peacemaker. She wasn't just the chief executive officer of the company; she was the adult when her partners behaved like children.

someone ought to invent a tool, a kind of plane to shave the lies away from stories and deception away from memories. I’m a collector of shavings.

Only if the human mind had a Garbage Collector. But then, do we know what references we still hold on?

In England many persons have a singular love for the relics of thieves and murderers, or other great criminals. The ropes with which they have been hanged are very often bought by collectors at a guinea per foot. Great sums were paid for the rope which hanged Dr. Dodd, and for those more recently which did justice upon Mr. Fauntleroy for forgery, and on Thurtell for the murder of Mr. Weare. The murder of Maria Marten, by Corder, in the year 1828, excited the greatest interest all over the country. People came from Wales and Scotland, and even from Ireland, to visit the barn where the body of the murdered woman was buried. Every one of them was anxious to carry away some memorial of his visit. Pieces of the barn-door, tiles from the roof, and, above all, the clothes of the poor victim, were eagerly sought after. A lock of her hair was sold for two guineas, and the purchaser thought himself fortunate in getting it so cheaply.

too many suspicions or deeply seated feelings are scattered amongst memories better suited to watercolor paintings abandoned during rainstorms.

In my short time in South Africa of only a few days, I have learned two things about South Africans. First, they are collectors of little moments. They love to collect beautiful memories that they can treasured for a lifetime. Second, they are bookends people. First impressions and last impressions kind of people. They remind me of Dr. Maya Angelou’s words when she said that people will forget what you said, but that they will never forget how you made them feel.” I think she was describing South Africans – bookend people: Strong beginning and lasting endings…

Scars fade,” she says quietly. “They don’t disappear. It isn’t right. We live with the memories; why do we have to live with the scars as well?

I am the collector of past selves, curator of the museum of old-yous. I take care that those originals never disapear, even if new versions have come about. I will remember you. You will remember me, as how you knew me in our time. Someday, aeons into our future, through greying hair and gold-rimmed glasses, we'll examine the dusty memories, wondering how these mythical people become extinct,

my heart bleeds for the forgotten. For the overlooked. For the survivors. For the ones holding in so much internal turmoil and memories with spikes on them. No, it is not okay to use and murder people, but yes, it is okay to fight for the life you deserve. The happiness you deserve. Yes, we are all worthy of a smile, and love, and gratification and adoration. Yes, it is okay to be needy of those things.

He was like a different person, without that cloak of grief that he wore. Was he trying to keep the painful memories in or keep happiness out?

Ken Schles: Modern humans think and operate under the percept that knowledge comes from within us, but I see us in a transitional phase where cybernetic knowledge is destroying the boundaries of where memory and knowledge is situated. It’s a crisis in the making. But perhaps there’s always been confusion. Culture, a creation of Mnemosyne, is nor something that can be possessed internally. It can only be experienced outwardly, collectively, in communication with, in participation with. Perhaps, that’s why collectors put such a high price on art: so they can privately imprison an expression of gods.

A collector, maybe. The kind of person who saves ticket stubs and old receipts, applying sentimental value to inanimate objects. Like they have feelings. The idea of tossing even a single happy memory into the trash is enough to make my eyes prickle—

You’d be amazed by the tales wraiths are willing to share of their homeland. Like Un Drallag traveling into the Nether Reaches when he meant to journey to the Empyreal Fields and coming out with a god weaved into his soul instead. It took the wraith tasting you and entering your memory to be sure it was right about who you were. It was three hundred years ago. The prince sensed something unusual on your lady friend, but once the wraith was certain about you being Un Drallag, it made sure the Prince of the East knew exactly what we were dealing with. The dead tell all, my friend.” The Prince of the East knows about me. About Neri. All because of a damned wraith.

I saved her. In the next heartbeat, a spear juts through her stomach from behind. Time stops. I can’t move. Can’t breathe. Her eyes meet mine, and she clutches the spear. An expression of confusion twists her beautiful features. “No,” is all she says as blood pours from her wound, staining the white gown we stitched together last summer. I read the single word on her lips, just before those lovely eyes of hers, with such bright light, go dark. Disbelief tears through me, hot and raw. When Mother slumps to the ground, the scent of her coming death carries across the space between us, and a flood of deepest sorrow fills me. My mother’s death smells like her. Cloves and fallen leaves and smoky coldness, tangled with the memory of sun and warm breezes.

The Owyns are loyal Northlanders, dedicated to their worship of the ancient gods, especially the last Northland god in recent memory—Neri, a selfish bastard who’s been dead for three hundred years. Sometimes, being around the Owyn family makes me feel blasphemous, but then again, I’m anything but pious. I haven’t stepped foot inside the temple since Nephele was chosen. And I never will, ever again.

رایحه یک آرزو و هدف است. نه فقط ابزاری برای اغواگری، بلکه برای قدرت و مقام. می دانی باستانیان چقدر برای کُندُر یا درخت مُر می پرداختند؟ کل امپراتوری آنها بر اساس تجارت این کالا ساخته شده بود. می بینی، حتی بعد، وقتی زندگی کوتاه و ظالمانه بود، مردم می خواستند بوی متفاوتی بدهند و از خود بی خود شوند.

Having lost his worldly goods, the refugee had become a fabulous collector, lugging around the portable property of memory and quotation.

After seeing your memories,” Ohg said with the excitement of a bug collector who’s found a never-before-described beetle, “it’s clear the nanobots respond to your thoughts. They redesigned your eye with multiple lenses atop the pyramid. All in response to your desire to better see the speck of rising dust in the distance. In a very real sense, they led you here.” “Then it wasn’t God after all.” “The wonders of reality are every bit as miraculous as the supernatural.

When it comes to my memory there are three categories; things I want to forget, things I can't forget, and things I'd forgot I'd forgotten until I remember them.

I thought that, to be a writer, I had to be a collector of experiences. And I thought every experience worth having, every person worth meeting, only existed after dark. I always remembered something Hicks told me as we lay in bed under the fairy lights of her student room twinkling around her window. “One day we will sit in a nursing home, Dolly, bored out of our minds and staring at the quilt on our laps,” she said. “And all we will have to make us smile are these memories.

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Everything we do, everything that happens to us - good or bad - relies on a million little moments in the past. We fool ourselves if we believe that we control every moment. But we can do something now to change our futures.

I am sitting here wanting memories to teach me to see the beauty in the world through my own eyes— Ysaye Barnwell

I have the sense that she thinks she knows about death. But she only knows it from a distance, from comforting people like me.

I had only known her for five days.

Would it not be presumptuous of me if, in order to appear convincingly objective and down-to-earth, I enumerated for you the main sections or prize pieces of a library, if I presented you with their history or even their usefulness to a writer? I, for one, have in mind something less obscure, something more palpable than that; what I am really concerned with is giving you some insight into the relationship of a book collector to his possessions, into collecting rather than a collection. If I do this by elaborating on the various ways of acquiring books, this is something entirely arbitrary. This or any other procedure is merely a dam against the spring tide of memories which surges toward any collector as he contemplates his possessions. Every passion borders on the chaotic, but the collector’s passion borders on the chaos of memories. More than that: the chance, the fate, that suffuse the past before my eyes are conspicuously present in the accustomed confusion of these books.

Everything lies. Except the eyes. Didn’t Van Gogh—or maybe it was Tupac—say that?

Grief makes you a strange kind of collector. Of last texts, of receipts, of songs he skipped on the playlist. Memory is cruel. It returns in detail. And I hold him in artefacts proof that we happened.

Suddenly the scene is frozen for you. The mental camera clicks with Spook mouthin’ his retrieve, and Polly chasin’ a cripple through the blackberry bushes, and Buck tenderly handin’ Pete one of his two kills. And the whole thing is etched on your memory like one of the frames in a slide-projector, full color. Dark green lob-lolly pines, backing golden strawfield, brown blobs of hunters, white setters, sky now dolomite blue, and cottontufts of clouds just touched with slanting sunshine. The day goes on, and there’s a fullness in it. The warmth of good companions, the steady, not-too-perfect dog work, the high excitement of the search, the pleasant lull between the points. - A Letter to My Cousin By David H. Henderson

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Sometimes fate steps in to steal things from you. And sometimes it sweeps in to take you places you only dreamed of going.

We all think we know what other people should do. But I see now that each of us is going on roads only we can see.