Weaving Memories Quotes

Love doesn't come with an on-off switch. It's made of too many threads of memory and hope and heartache that weave themselves into the very core of who you are.

Everything can happen, everything is possible and probable. Time and place do not exist; on an insignificant basis of reality the imagination spins, weaving new patterns; a mixture of memories, experiences, free fancies, incongruities and improvisations.

Wait Wait, for now. Distrust everything, if you have to. But trust the hours. Haven't they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don't go too early. You're tired. But everyone's tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

The things a man has heard and seen are threads of life, and if he pull them carefully from the confused distaff of memory, any who will can weave them into whatever garments of belief please them best. I too have woven my garment like another, but I shall try to keep warm in it, and shall be well content if it do not unbecome me.

Memory weaves and traps us at the same time according to a scheme in which we do not participate: we should never speak of our memory, for it is anything but ours; it works on its own terms, it assists us while deceiving us or perhaps deceives up to assist us.

Memories are dangerous things. You turn them over and over, until you know every touch and corner, but still you’ll find an edge to cut you.” I looked into my own darkness. I knew what it was to be trapped, and to watch ruination. “Each day the memories weigh a little heavier. Each day they drag you down that bit further. You wind them around you, a single thread at a time, and you weave your own shroud, you build a cocoon, and in it madness grows.” The lights pulsed beneath my fingers, ebbing and flowing to the beat of my voice. “You sit here with your yesterdays queuing at your shoulder. You listen to their reproach and curse those that gave you life.

So not only was it possible to implant false new memories in the brain, but people embraced and embellished them, unknowingly weaving fantasy into the fabric of their identity.

Sharing a life threads more than flesh and blood together. It weaves her memories in and around and through mine. The more I know of her, the more I share of her, the more I love her in a way the boy I used to be never knew how to love. Eo was a flame, dancing against the wind. I tried to catch her. Tried to hold her. But she was never meant to be held. My wife is not as fickle as a flame. She is an ocean. I knew from the first that I cannot own her, cannot tame her, but I am the only storm that moves her depths and stirs her tides. And that is more than enough.

Perhaps history this century, thought Eigenvalue, is rippled with gathers in its fabric such that if we are situated, as Stencil seemed to be, at the bottom of a fold, it's impossible to determine warp, woof, or pattern anywhere else. By virtue, however, of existing in one gather it is assumed there are others, compartmented off into sinuous cycles each of which had come to assume greater importance than the weave itself and destroy any continuity. Thus it is that we are charmed by the funny-looking automobiles of the '30's, the curious fashions of the '20's, the particular moral habits of our grandparents. We produce and attend musical comedies about them and are conned into a false memory, a phony nostalgia about what they were. We are accordingly lost to any sense of continuous tradition. Perhaps if we lived on a crest, things would be different. We could at least see.

The gods weave misfortunes for men, so that the generations to come will have something to sing about.” Mallarmé repeats, less beautifully, what Homer said; “tout aboutit en un livre,” everything ends up in a book. The Greeks speak of generations that will sing; Mallarmé speaks of an object, of a thing among things, a book. But the idea is the same; the idea that we are made for art, we are made for memory, we are made for poetry, or perhaps we are made for oblivion. But something remains, and that something is history or poetry, which are not essentially different.

Poem Written in a Copy of Beowulf At various times, I have asked myself what reasons moved me to study, while my night came down, without particular hope of satisfaction, the language of the blunt-tongued Anglo-Saxons. Used up by the years, my memory loses its grip on words that I have vainly repeated and repeated. My life in the same way weaves and unweaves its weary history. Then I tell myself: it must be that the soul has some secret, sufficient way of knowing that it is immortal, that its vast, encompassing circle can take in all, can accomplish all. Beyond my anxiety, beyond this writing, the universe waits, inexhaustible, inviting.

The important thing for the remembering author is not what he experienced, but the weaving of his memory, the Penelope work of recollection. Or should one call it, rather, the Penelope work of forgetting? ... And is not his work of spontaneous recollection, in which remembrance is the woof and forgetting the warp, a counterpart to Penelope's work rather than its likeness? For here the day unravels what the night has woven. When we awake each morning, we hold in our hands, usually weakly and loosely, but a few fringes of the tapestry of a lived life, as loomed for us by forgetting. However, with our purposeful activity and, even more, our purposive remembering each day unravels the web and the ornaments of forgetting.

Dip your hands into life, scoop up memories, dreams, questions and ideas and weave them into stories.

They say you start weaving clearer, sharper memories after you've been to a place at least twice. Because then the reflection is more of validation. Let the rush come to you and let your senses be flushed the first time. There will be time for reflection after you've had your fill.

Covering up with one of his wings, I surround myself with the scent of licorice and honey. “You want to hold me while I sleep. You want to watch my face as I dream like you never have—from the outside.” He traces my eye markings with an elegant fingertip. “That will be my memory to cling to, until you’re mine forever at last, both in waking hours and sleep. The question is, do you trust me enough to give me that? To rest in my arms tonight?” I hold his soft palm against my cheek. “Will you sing me my lullaby?” He weaves his fingers through my hair and presses my forehead to his. “Forever and always,” he whispers. As he hums the tune that has been inside my mind and heart all my life, I close the waterfall canopy, cocooning us within our own frozen pocket of time.

Even as the brain is dying, it refuses to stop generating a narrative, the scaffolding upon which it weaves cause and effect, memory and experience, feeling and cognition. Narrative is so important to survival that it is literally the last thing you give up before becoming a sack of meat.

Tell the story, gather the events, repeat them. Pattern is a matter of upkeep. Otherwise the weave relaxes back to threads picked up by birds to make their nests. Repeat, or the story will fall and all the king's horses and all the king's men. . . . Repeat, and cradle the pieces carefully, or events will scatter like marbles on a wooden floor.

When the body perishes all perishes but the threads of memory are woven of enduring atoms I will pick these particles weave the threads and I will meet you yet again.

If I could remove one thing from the world and replace it with something else, I would erase politics and put art in its place. That way, art teachers would rule the world. And since art is the most supreme form of love, beautiful colors and imagery would weave bridges for peace wherever there are walls. Artists, who are naturally heart-driven, would decorate the world with their love, and in that love — poverty, hunger, lines of division, and wars would vanish from the earth forever. Children of the earth would then be free to play, imagine, create, build and grow without bloodshed, terror and fear.

...there was something in the texture of the weave that felt happy: the echo of a memory so far down in his soul it was all emotion, a burst of colour and warmth, adrift from time and place.

Orito pictures the human mind that weaves disparate threads of belief, memory, and narrative into an entity whose common name is Self, and which sometimes calls itself Perception.

Sharing a life threads more than flesh and blood together. It weaves her memories in and around and through mine.

The truth, even more, is that life is perpetually weaving fresh threads which link one individual and one event to another, and that these threads are crossed and recrossed, doubled and redoubled to thicken the web, so that between any slightest point of our past and all the others a rich network of memories gives us an almost infinite variety of communicating paths to choose from.

The memories which peaceful country scenes call up, are not of this world, nor of its thoughts and hopes. Their gentle influence may teach us how to weave fresh garlands for the graves of those we loved: may purify our thoughts, and bear down before it old enmity and hatred; but beneath all this, there lingers, in the least reflective mind, a vague and half-formed consciousness of having held such feelings long before, in some remote and distant time, which calls upon solemn thoughts of distant times to come, and bends down pride and worldliness beneath it.

[E]verything is fiction. When you tell yourself the story of your life, the story of your day, you edit and rewrite and weave a narrative out of a collection of random experiences and events. Your conversations are fiction. Your friends and loved ones—they are characters you have created. And your arguments with them are like meetings with an editor—please, they beseech you, you beseech them, rewrite me. You have a perception of the way things are, and you impose it on your memory, and in this way you think, in the same way that I think, that you are living something that is describable. When of course, what we actually live, what we actually experience—with our senses and our nerves—is a vast, absurd, beautiful, ridiculous chaos.

literature composed by women was stored not in books but in female bodies, living repositories of poetry and song. I have come across a line of argument in my reading, which posits that, due to the inherent fallibility of memory and the imperfect human vessels that held it, the Caoineadh cannot be considered a work of single authorship. Rather, the theory goes, it must be considered collage, or, perhaps, a folky reworking of older keens. This, to me --- in the brazen audacity of one positioned far from the tall walls of the university --- feels like a male assertion pressed upon a female text. After all, the etymology of the word ‘text’ lies in the Latin verby ‘texere’: to weave, to fuse, to braid. The Caoineadh form belongs to a literary genre worked and woven by women, entwining strands of female voices that were carried in female bodies, a phenomenon that seems to me cause for wonder and admiration, rather than suspicion of authorship.

Orito pictures the human mind as a loom that weaves disparate threads of belief, memory and narrative into an entity whose common name is Self, and which sometimes calls itself Perception.

But you can't lose someone you truly love. Love doesn't come with an on-off switch. It's made of to many threads of memory and hope and heartache that weave themselves into the very core of who you are.

If there is anything certain in life, it is this. Time doesn't always heal. Not really. I know they say it does, but that is not true. What time does is to trick you into believing that you have healed, that the hurt of a great loss has lessened. But a single word, a note of a song, a fragrance, a knife point of dawn light across an empty room, any one of these things will take you back to that one moment you have never truly forgotten. These small things are the agents of memory. They are the sharp needle points piercing the living fabric of your life. Life, my children, isn't linear where the heart is concerned. It is filled with invisible threads that reach out from your past and into your future. These threads connect every second we have lived and breathed. As your own lives move forward and as the decades pass, the more of these threads are cast. Your task is to weave them into a tapestry, one that tells the story of the time we shared.

When Khubchand, his beloved, blind, bald, incontinent seventeen-year-old mongrel, decided to stage a miserable, long-drawn-out death, Estha nursed him through his final ordeal as though his own life somehow depended on it. In the last months of his life, Khubchand, who had the best of intentions but the most unreliable of bladders, would drag himself to the top-hinged dog-flap built into the bottom of the door that led out into the back garden, push his head through it and urinate unsteadily, bright yellowly, inside Then with bladder empty and conscience clear he would look up at Estha with opaque green eyes that stood in his grizzled skull like scummy pools and weave his way back to his damp cushion, leaving wet footprints on the floor. As Khubchand lay dying on his cushion, Estha could see the bedroom window reflected in his smooth, purple balls. And the sky beyond. And once a bird that flew across. To Estha - steeped in the smell of old roses, blooded on memories of a broken man - the fact that something so fragile, so unbearably tender had survived, had been allowed to exist, was a miracle. A bird in flight reflected in an old dog's balls. It made him smile out loud.

By integrating your implicit and explicit memories and by shining the light of awareness on difficult moments from your past, you can gain insight into how your past is impacting your relationship with your children. You can remain watchful for how your issues are affecting your own mood as well as how your kids feel. When you feel incompetent, frustrated, or overly reactive, you can look at what's behind those feelings​and explore whether they are connected to something in your past. Then you can bring your former experiences into the present and weave them into the larger story of your life. When you do that, you can be free to be the kind of parent you want to be. You can make sense of your own life, which will help your kids do the same with theirs

I thought of our family, sometimes, as a tapestry: a perfect blending and weaving of colored threads that produced an enviable picture on our surface, while underneath we were a tangled maze of knots and stitches, colliding and separating in our own directions, united only in the mandate to keep the outward appearances lovely.

You need only one taste of madness, and the timeless journey can be spent in thoughts that follow behind like the fiery tail of a comet. And this glowing chaos, the soul will carry under the linings of its peace, to weave beautiful memories with.

For mile after mile the same melodic phrase rose up in my memory. I simply couldn’t get free of it. Each time it had a new fascination for me. Initially imprecise in outline, it seemed to become more and more intricately woven, as if to conceal from the listener how eventually it would end. This weaving and re-weaving became so complicated that one wondered how it could possibly be unravelled; and then suddenly one note would resolve the whole problem, and the solution would seem yet more audacious than the procedures which had preceded, called for, and made possible its arrival; when it was heard, all that had gone before took on a new meaning, and the quest, which had seemed arbitrary, was seen to have prepared the way for this undreamed-of solution.

There is an old lady who lives on the moon. You can see her spinning thread on her spinning wheel. Her isolation and distance from the world has made her a sage. She weaves stories. She knows every wanderer who crosses the sea grass meadows, she knows every woman who uses her blackened blue hands to grind grain in the hand mill, she is friends with the little girl who got lost in the corn fields and was never found, and she knows the story of the boy who played flute on the little hill when his lambs slept. Grandmother said that if I had been a good girl the moon lady would weave for me a magical blanket and every stitch will be made from a moment of my life, a forgotten moment, a memory. Every stitch would be special. It would be made especially for me.

[Memory]... is a system of near-infinite complexity, a system that seems designed for revision as much as for replication, and revision unquestionably occurs. Details from separate experiences weave together, so that the rememberer thinks of them as having happened together. The actual year or season or time of day shifts to a different one. Many details are lost, usually in ways that serve the self in its present situation, not the self of ten or twenty or forty years ago when the remembered event took place. And even the fresh memory, the 'original,' is not reliable in a documentary sense....Memory, in short, is not a record of the past but an evolving myth of understanding the psyche spins from its engagement with the world.

Memories are dangerous things. You turn them over and over, until you know every touch and corner, but still you'll find an edge to cut you. Each day the memories weigh a little heavier. Each day they drag you down that bit further. You wind them around you, a single thread at a time, and you weave your own shroud, you build a cocoon, and in it madness grows. You sit here with your yesterdays queuing at your shoulder. You listen to their reproach and curse those that gave you life. I know what you want. You want an end.

Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

The Wheel weaves as the Wheel wills, Perrin. We’ve become what we needed to become.” Perrin

Of what use are the memories if not to grow flowers ... on the barren fields. Of what use are the falling tears, if not to weave the string of pearls in the hardest hours?

The memories of his people were, Karsa Orlong now knew, twisted things. Surrendered to oblivion when unpleasant, burgeoning to a raging fire of glory when heroic. Defeat had been spun into victory in the weaving of every tale.

And so, under cover of midnight, a couple of Sugus, and the spell of memories that were threatening to disappear in the mist of time, Fermin began to connect the threads that would weave the end and the beginning of our story....

As simple an act as reading or writing a sentence must be surrounded by perceptory nap and weave . . . an itch, a stray memory from childhood, the distant sound of a barking dog, or something left over from the lunch that is found caught between the teeth.

My prolonged study of these photographs led me to appreciate the importance of preserving certain moments for prosperity, and as time moved forwards I also came to see what a powerful influence these framed scenes exerted over us as we went about our daily lives. To watch my uncle pose my brother a maths problem, and at the same time to see him in a picture taken thirty-two years earlier; to watch my father scanning the newspaper and trying, with a half-smile, to catch the tail of a joke rippling across the crowded room, and at that very same moment to see a picture of him to me that my grandmother had framed and frozen these memories so that we could weave them into the present.When, in the tones ordinarily preserved for discussing the founding of a nation, my grandmother spoke of my grandfather who had died so young, and pointed at the frames on the tables and the walls, it seemed that she, like me, was pulled in two direction , wanting to get on with life but also longing to capture the moment of perfection, savouring the ordinary life but still honouring the ideal. But even as I pondered these dilemmas-if you plucked a special moment from life and framed it, were you defying death, decay and the passage of time, or were you submitting to them? - I grew very bored with them.

But when the self—not a fictional character—is the landscape of the story, we can’t afford to be blind to our own themes and the strands weaving through them. And so we must make a map, even as the ground shifts beneath us. This is, of course, not only a literary problem. —

Rid of the world’s injustice, and his pain, He rests at last beneath God’s veil of blue: Taken from life when life and love were new The youngest of the martyrs here is lain, Fair as Sebastian, and as early slain. No cypress shades his grave, no funeral yew, But gentle violets weeping with the dew Weave on his bones an ever-blossoming chain. O proudest heart that broke for misery! O sweetest lips since those of Mitylene! O poet-painter of our English land! Thy name was writ in water — it shall stand: And tears like mine will keep thy memory green, As Isabella did her Basil tree. Rome

Wait, for now. Distrust everything if you have to. But trust the hours. Haven’t they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become interesting. Second-hand gloves will become lovely again; their memories are what give them the need for other hands. The desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don’t go too early. You’re tired. But everyone’s tired. But no one is tired enough. Only wait a little and listen: music of hair, music of pain, music of looms weaving our loves again. Be there to hear it, it will be the only time, most of all to hear your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

I realized I still had my eyes shut. I had shut them when I put my face to the screen, like I was scared to look outside. Now I had to open them. I looked out the window and saw for the first time how the hospital was out in the country. The moon was low in the sky over the pastureland; the face of it was scarred and scuffed where it had just torn up out of the snarl of scrub oak and madrone trees on the horizon. The stars up close to the moon were pale; they got brighter and braver the farther they got out of the circle of light ruled by the giant moon. It called to mind how I noticed the exact same thing when I was off on a hunt with Papa and the uncles and I lay rolled in blankets Grandma had woven, lying off a piece from where the men hunkered around the fire as they passed a quart jar of cactus liquor in a silent circle. I watched that big Oregon prairie moon above me put all the stars around it to shame. I kept awake watching, to see if the moon ever got dimmer or if the stars got brighter, till the dew commenced to drift onto my cheeks and I had to pull a blanket over my head. Something moved on the grounds down beneath my window — cast a long spider of shadow out across the grass as it ran out of sight behind a hedge. When it ran back to where I could get a better look, I saw it was a dog, a young, gangly mongrel slipped off from home to find out about things went on after dark. He was sniffing digger squirrel holes, not with a notion to go digging after one but just to get an idea what they were up to at this hour. He’d run his muzzle down a hole, butt up in the air and tail going, then dash off to another. The moon glistened around him on the wet grass, and when he ran he left tracks like dabs of dark paint spattered across the blue shine of the lawn. Galloping from one particularly interesting hole to the next, he became so took with what was coming off — the moon up there, the night, the breeze full of smells so wild makes a young dog drunk — that he had to lie down on his back and roll. He twisted and thrashed around like a fish, back bowed and belly up, and when he got to his feet and shook himself a spray came off him in the moon like silver scales. He sniffed all the holes over again one quick one, to get the smells down good, then suddenly froze still with one paw lifted and his head tilted, listening. I listened too, but I couldn’t hear anything except the popping of the window shade. I listened for a long time. Then, from a long way off, I heard a high, laughing gabble, faint and coming closer. Canada honkers going south for the winter. I remembered all the hunting and belly-crawling I’d ever done trying to kill a honker, and that I never got one. I tried to look where the dog was looking to see if I could find the flock, but it was too dark. The honking came closer and closer till it seemed like they must be flying right through the dorm, right over my head. Then they crossed the moon — a black, weaving necklace, drawn into a V by that lead goose. For an instant that lead goose was right in the center of that circle, bigger than the others, a black cross opening and closing, then he pulled his V out of sight into the sky once more. I listened to them fade away till all I could hear was my memory of the sound.

As she waited for the soul-crushing grief to envelop her, an odd thing happened. The grief failed to materialize. Instead, she felt... joy. An overwhelming sense of peace weaved its way around her sadness. Tiana knew she would always miss her daddy, but the hole his passing had left in her heart wasn't as hollow this time around. It was filled with memories of the past year--- the laughs they'd shared, the meals they'd prepared together, and the all-encompassing love they'd experienced every single day. And a true goodbye. Tiana closed her eyes tight, holding onto those memories. They would be with her always. Just as her daddy would be with her. Always.

But it sometimes happens that the Angel of Forgetfulness himself forgets to remove from our memories the records of the former world and then our senses are haunted by fragmentary recollections of another life. They drift like torn clouds above the hills and valleys of our mind and weave themselves in the incidents of our current existence.

Every generation of children instinctively nests itself in nature, no matter matter how tiny a scrap of it they can grasp. In a tale of one city child, the poet Audre Lord remembers picking tufts of grass which crept up through the paving stones in New York City and giving them as bouquets to her mother. It is a tale of two necessities. The grass must grow, no matter the concrete suppressing it. The child must find her way to the green, no matter the edifice which would crush it. "The Maori word for placenta is the same word for land, so at birth the placenta is buried, put back in the mothering earth. A Hindu baby may receive the sun-showing rite surya-darsana when, with conch shells ringing to the skies, the child is introduced to the sun. A newborn child of the Tonga people 'meets' the moon, dipped in the ocean of Kosi Bay in KwaZulu-Natal. Among some of the tribes of India, the qualities of different aspects of nature are invoked to bless the child, so he or she may have the characteristics of earth, sky and wind, of birds and animals, right down to the earthworm. Nothing is unbelonging to the child. "'My oldest memories have the flavor of earth,' wrote Frederico García Lorca. In the traditions of the Australian deserts, even from its time in the womb, the baby is catscradled in kinship with the world. Born into a sandy hollow, it is cleaned with sand and 'smoked' by fire, and everything -- insects, birds, plants, and animals -- is named to the child, who is told not only what everything is called but also the relationship between the child and each creature. Story and song weave the child into the subtle world of the Dreaming, the nested knowledge of how the child belongs. "The threads which tie the child to the land include its conception site and the significant places of the Dreaming inherited through its parents. Introduced to creatures and land features as to relations, the child is folded into the land, wrapped into country, and the stories press on the child's mind like the making of felt -- soft and often -- storytelling until the feeling of the story of the country is impressed into the landscape of the child's mind. "That the juggernaut of ants belongs to a child, belligerently following its own trail. That the twitch of an animal's tail is part of a child's own tale or storyline, once and now again. That on the papery bark of a tree may be written the songline of a child's name. That the prickles of a thornbush may have dynamic relevance to conscience. That a damp hollow by the riverbank is not an occasional place to visit but a permanent part of who you are. This is the beginning of belonging, the beginning of love. "In the art and myth of Indigenous Australia, the Ancestors seeded the country with its children, so the shimmering, pouring, circling, wheeling, spinning land is lit up with them, cartwheeling into life.... "The human heart's love for nature cannot ultimately be concreted over. Like Audre Lord's tufts of grass, will crack apart paving stones to grasp the sun. Children know they are made of the same stuff as the grass, as Walt Whitman describes nature creating the child who becomes what he sees: There was a child went forth every day And the first object he look'd upon, that object he became... The early lilacs became part of this child... And the song of the phoebe-bird... In Australia, people may talk of the child's conception site as the origin of their selfhood and their picture of themselves. As Whitman wrote of the child becoming aspects of the land, so in Northern Queensland a Kunjen elder describes the conception site as 'the home place for your image.' Land can make someone who they are, giving them fragments of themselves.

{The resolution of the surviving members of the Eleventh Illinois Cavalry, whom Robert Ingersoll was the commander of, at his funeral quoted here} Robert G. Ingersoll is dead. The brave soldier, the unswerving patriot, the true friend, and the distinguished colonel of the old regiment of which we have the honor to be a remanent, sleeps his last sleep. No word of ours, though written in flame, no chaplet that our hands can weave, no testimony that our personal knowledge can bring, will add anything to his fame. The world honors him as the prince of orators in his generation, as its emancipator from manacles and dogmas; philosophy, for his aid in beating back the ghosts of superstition; and we, in addition to these, for our personal knowledge of him, as a man, a soldier, and a friend. We know him as the general public did not. We knew him in the military camp, where he reigned an uncrowned king, ruling with that bright scepter of human benevolence which death alone could wrest from his hand. We had the honor to obey, as we could, his calm but resolute commands at Shiloh, at Corinth, and at Lexington, knowing as we did, that he would never command a man to go where he would not dare to lead the way. We recognize only a small circle who could know more of his manliness and worth than we do. And to such we say: Look up, if you can, through natural tears; try to be as brave as he was, and try to remember -- in the midst of grief which his greatest wish for life would have been to help you to bear -- that he had no fear of death nor of anything beyond.

MY DREAM If I could remove one thing from the world and replace it with something else, I would erase politics and put art in its place. That way, art teachers would rule the world. And since art is the most supreme form of love, beautiful colors and imagery would weave bridges for peace wherever there are walls. Artists, who are naturally heart-driven, would decorate the world with their love, and in that love — poverty, hunger, lines of division, and wars would vanish from the earth forever. Children of the earth would then be free to play, imagine, create, build and grow without bloodshed, terror and fear. Our evolution depends on our memory. If we keep forgetting the mistakes of the past, only to keep repeating them, then we will never change. And if we keep recycling through the exact same kind of leaders— the kind who do not propel us forward, but only hold us back—then perhaps what we really need now is a completely different style of leadership altogether. We need heart-driven leaders, not strictly mind-driven ones. We need compassionate humanitarians, not greedy businessmen. Peacemakers, not war instigators. We need unity, not division. Angels, not devils.

There is a hidden materiality to texts—a word that originally meant “weaving,” a connection seen in “texture.” Forests haunt writing: The English word for “book” is related to “beech tree” by its Germanic root, and “library” comes from the Latin for “the inner bark of trees.” In most Indo-European languages, “writing” comes from carving and cutting. Language carries the memory of words etched into wood tablets, tree trunks, and bones.

It seems to me that when you look back at a life - yours or another's - what you see is a path that weaves into and out of deep shadow. So much is lost. What we use to construct the past is what has remained in the open, a hodgepodge of fleeting glimpses. Our histories, like my father's current body, are structures built of toothpicks. So what I recall of that last summer in New Bremen is a construct of both what stands in the light and what I imagine in the dark where I cannot see.

As a bucket let down or hauled up a well by a windlass touches the rope or the sides every now and then, there was not a personage, hardly even an event in my life, which had not at one time or another played different parts. If, after years I rediscovered the simplest social relationship or even a material object in my memory, I perceived that life had been ceaselessly weaving threads about it which in the end became a beautiful velvet covering like the emerald sheath of a water-conduit in an ancient park.

Who can tell how scenes of peace and quietude sink into the minds of pain-worn dwellers in close and noisy places, and carry their own freshness, deep into their jaded hearts! Men who have lived in crowded, pent-up streets, through lives of toil, and who have never wished for change; men, to whom custom has indeed been second nature, and who have come almost to love each brick and stone that formed the narrow boundaries of their daily walks; even they, with the hand of death upon them, have been known to yearn at last for one short glimpse of Nature’s face; and, carried far from the scenes of their old pains and pleasures, have seemed to pass at once into a new state of being. Crawling forth, from day to day, to some green sunny spot, they have had such memories wakened up within them by the sight of sky, and hill and plain, and glistening water, that a foretaste of heaven itself has soothed their quick decline, and they have sunk into their tombs, as peacefully as the sun whose setting they watched from their lonely chamber window but a few hours before, faded from their dim and feeble sight! The memories which peaceful country scenes call up, are not of this world, nor of its thoughts and hopes. Their gentle influence may teach us how to weave fresh garlands for the graves of those we loved: may purify our thoughts, and bear down before it old enmity and hatred; but beneath all this, there lingers, in the least reflective mind, a vague and half-formed consciousness of having held such feelings long before, in some remote and distant time, which calls up solemn thoughts of distant times to come, and bends down pride and worldliness beneath it.

No one wants to learn an instrument, Rachel. It's grueling repetition. And besides, you're too old to start. Concert violinists who learn the traditional way begin when they're six or seven." Risa can't help but listen to the irritating conversation taking place between the well-dressed woman and her fashionably disheveled teenage daughter. "It's bad enough they'd be messing in my brain and giving me a NeuroWeave," the girl whines. "But why do I have to have the hands, too? I like my hands!" The mother laughs. "Honey, you've got your father's stubby, chubby little fingers. Trading up will only do you good in life, and it's common knowledge that a musical NeuroWeave requires muscle memory to complete the brain-body connection." "There are no muscles in the fingers!" the girl announces triumphantly. "I learned that in school." The mother gives her a long-suffering sigh. "Think of them like a pair of gloves, Rachel. Fancy silk gloves, like a princess wears." Risa can't stand it anymore. Making sure she's low enough so that her face can't be seen, she gets up, and as she walks past them, she says, "You'll have someone else's fingerprints.

If Snow kept weaving around the corners, she would reach the center of the maze and her mother's beloved aviary. The two-story wrought iron dome looked like a giant birdcage. It was her mother's pride and joy and the first thing she had commissioned when she became queen. She'd always had a love of birds. Snow's mother kept several species inside the netted walls, and she patiently explained each bird's nature to Snow in detail. The two had spent countless hours watching the aviary, with Snow naming all of the creatures inside it. Her favorite was Snowball, a small white canary.

Affraig’s eyes moved to the oak tree that towered above her, its branches like antlers against the white sky. Her gaze travelled up to the weathered web that hung from one of the higher boughs, the slender noose swinging inside. In her mind she saw herself weaving it while she chanted words against Malachy’s wrathful curse. She remembered the lord’s hand settling on her shoulder, the hiss of the fire, his breath on her neck and, outside, stars falling like fiery rain. Her gaze moved west towards Turnberry. Her memory clouded with thoughts of the earl, but as she thought of his son her mind cleared. The stars had been falling too on the night he was born. She remembered seeing Mars, full and red, a bloody eye winking in the black.

I have, however, been at no pains to separate my own beliefs from those of the peasantry, but have rather let my men and women, dhouls and faeries, go their way unoffended or defended by any argument of mine. The things a man has heard and seen are threads of life, and if he pull them carefully from the confused distaff of memory, any who will can weave them into whatever garments of belief please them best. I too have woven my garment like another, but I shall try to keep warm in it, and shall be well content if it do not unbecome me. Hope and Memory have one daughter and her name is Art, and she has built her dwelling far from the desperate field where men hang out their garments upon forked boughs to be banners of battle. O beloved daughter of Hope and Memory, be with me for a little. 1893.

Perhaps history this century, thought Eigenvalue, is rippled with gathers in its fabric such that if we are situated, as Stencil seemed to be, at the bottom of a fold, it’s impossible to determine warp, woof or pattern anywhere else. By virtue, however, of existing in one gather it is assumed there are others, compartmented off into sinuous cycles each of which comes to assume greater importance than the weave itself and destroys any continuity. Thus it is that we are charmed by the funny-looking automobiles of the ’30s, the curious fashions of the ’20s, the peculiar moral habits of our grandparents. We produce and attend musical comedies about them and are conned into a false memory, a phony nostalgia about what they were. We are accordingly lost to any sense of a continuous tradition. Perhaps if we lived on a crest, things would be different. We could at least see. I

And HECTOR died like everyone else He was in charge of the Trojans But a spear found out the little patch of white Between his collarbone and his throat Just exactly where a man's soul sits Waiting for the mouth to open He always knew it would happen He who was so boastful and anxious And used to nip home deafened by weapons To stand in full armour in the doorway Like a man rushing in leaving his motorbike running All women loved him His wife was Andromache One day he looked at her quietly He said I know what will happen And an image stared at him of himself dead And her in Argos weaving for some foreign woman He blinked and went back to his work Hector loved Andromache But in the end he let her face slide from his mind He came back to her sightless Strengthless expressionless Asking only to be washed and burned And his bones wrapped in soft cloths And returned to the ground

Wait" Wait, for now. Distrust everything, if you have to. But trust the hours. Haven’t they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don’t go too early. You’re tired. But everyone’s tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

They stood in the courtyard at Our Lady Queen of Angels Catholic Church and stared at each other in silence, then Stanton pulled her into the shadows near a window and kissed her forehead. He cupped his hands around her face. When she didn't resist his touch, he let his hands smooth gently down her neck over her shoulders to her back. "I had to come see you," he whispered against her ear, breathing in her fragrance. His fingers stroked her back, and savored the silky feel of her blouse. He nestled his lips on her temple, her satiny hair tickling his cheek. He drew back, wanting to kiss her, but hesitated, waiting for permission. She closed her eyes and let her arms slowly slip to his back, pulling him to her. He bent forward and when his lips touched hers, the sensation was electric. As they kissed, he weaved in and out of her mind, enjoying the luxury of sorting through her memories again and seeing what she had been doing. He lingered over her thoughts of him. Finally, he pulled back and looked at her. She smiled, letting him see the truth; she still cared for him.

These things-the beauty, the memory of our own past-are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited. Do you think I am trying to weave a spell? Perhaps I am; but remember your fairy tales. Spells are used for breaking enchantments as well as for inducing them. And you and I have need of the strongest spell that can be found to wake us from the evil enchantment of worldliness which has been laid upon us for nearly a hundred years. Almost our whole education has been directed to silencing this shy, persistent, inner voice; almost all our modem philosophies have been devised to convince us that the good of man is to be found on this earth. And yet it is a remarkable thing that such philosophies of Progress or Creative Evolution themselves bear reluctant witness to the truth that our real goal is elsewhere.

The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited. Do you think I am trying to weave a spell? Perhaps I am; but remember your fairy tales. Spells are used for breaking enchantments as well as for inducing them. And you and I have need of the strongest spell that can be found to wake us from the evil enchantment of worldliness which has been laid upon us for nearly a hundred years. Almost our whole education has been directed to silencing this shy, persistent, inner voice; almost all our modem philosophies have been devised to convince us that the good of man is to be found on this earth. And yet it is a remarkable thing that such philosophies of Progress or Creative Evolution themselves bear reluctant witness to the truth that our real goal is elsewhere.

This week we'll be learning about key elements of high quality picture books. Using the award winner lists in our course materials, select one picture book and share why it received its award. For example, Abuela is listed in the 100 Picture Books Everyone Should Know. According to Publishers Weekly, this is why it's so good: "In this tasty trip, Rosalba is "always going places" with her grandmother--abuela . During one of their bird-feeding outings to the park, Rosalba wonders aloud, "What if I could fly?" Thus begins an excursion through the girl's imagination as she soars high above the tall buildings and buses of Manhattan, over the docks and around the Statue of Liberty with Abuela in tow. Each stop of the glorious journey evokes a vivid memory for Rosalba's grandmother and reveals a new glimpse of the woman's colorful ethnic origins. Dorros's text seamlessly weaves Spanish words and phrases into the English narrative, retaining a dramatic quality rarely found in bilingual picture books. Rosalba's language is simple and melodic, suggesting the graceful images of flight found on each page. Kleven's ( Ernst ) mixed-media collages are vibrantly hued and intricately detailed, the various blended textures reminiscent of folk art forms. Those searching for solid multicultural material would be well advised to embark.

Another former chess player shared his own fond memory of Thiel from this era. Around the spring of 1988, the team was driving to Monterey for a tournament, with Thiel behind the wheel of the Rabbit. They took California’s Route 17, a four-lane highway that crosses the Santa Cruz Mountains and is regarded as one of the state’s most dangerous. The team was in no particular hurry, but Thiel drove as if he were a man possessed. He navigated the turns like Michael Andretti, weaving in and out of lanes, nearly rear-ending cars as he slipped past them, and seemed to be flooring the accelerator for large portions of the trip. Somewhat predictably, the lights of a California Highway Patrol cruiser eventually appeared in his rearview. Thiel was pulled over, and the trooper asked if he knew how fast he was going. The young men in the rest of the car, simultaneously relieved to have been stopped and scared of the trooper, looked at each other nervously. “Well,” Thiel responded, in his calmest, most measured baritone. “I’m not sure if the concept of a speed limit makes sense.” The officer said nothing. Thiel continued: “It may be unconstitutional. And it’s definitely an infringement on liberty.” The officer looked at Thiel and the geeks in the beater car and decided the whole thing wasn’t worth his time. He told Thiel to slow down and have a nice day. “I don’t remember any of the games we played,” said the man, now in his fifties, who’d been in the passenger seat. “But I will never forget that drive.

Throw the offerings!" Agnes and her husband had returned--- I could just make them out, clambering unsteadily down the hillside with their lanterns raised. In an act of ill-advised and entirely undeserved kindness, they had gathered up a handful of villagers to ride to the rescue of the idiot scholars who had tangled with the most fearsome of the local Folk, despite their warnings. A strangled sound escaped me, something between a sob and laugh. "Get back!" Eichorn shouted at the villagers. Rose was clambering to his feet, wheezing, for the fauns had released him to snatch at the "offerings" tossed their way by the villagers. I would have expected bloody hunks of meat, but instead, ludicrously, they seemed to be throwing vegetables--- carrots and onions, predominantly. How did it happen? The scene is a blur of noise and movement, to my memory. I believe I was laughing at the time--- yes, laughing. The image of those nightmarish beasts appeased by a hail of carrots was too much for my frayed composure, and for a moment it seemed this would become another story I told at conferences or to rouse a laugh from my students. For the Folk are terrible indeed, monsters or tyrants or both, but are they not also ridiculous? Whether they be violent beasts distracted by vegetables, or creatures powerful enough to spin straw into gold, which they will happily exchange for a simple necklace, or a great king overthrown by his own cloak, there is a thread of the absurd weaving through all faerie stories, to which the Folk themselves are utterly oblivious.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

Memory could weave thousands of those threads together, and in what became my most intriguing discovery, memory often employed the senses to accomplish it. Textures, sounds, smells could all be time machines, sending a person back through life to discover moments that complemented or matched the present. The phenomenon not only captivated my scientific interest, but also restored a measure of my freedom, transporting me outside the facility.

E – Energize: give your pictures action. Would you rather watch a movie of your holiday or a slide show? What creates more feeling in your imagination: a horse standing still or a horse that is running and moving? Make your information vivid, colorful, and not boring, flat and black and white. Use action; it brings life to your memories. Make your images act in illogical ways: you can weave, crash, stick, or wrap things together. We can make things talk, sing, and dance. Think about the great genius Walt Disney. The process of imagination is a fun creative process. The more enjoyment you can put into it the better.

Memory, it turns out, is not as reliable as we think. We do not encode high-definition movies of our experiences and then access them at will. Rather, memory is a system dispersed throughout the brain and is subject to all sorts of biases. Memories are suggestible. We often assemble fragments of entirely different experiences and weave them together into what seems like a coherent whole. With each recollection, we engage in editing.

In smaller, more familiar things, memory weaves her strongest enchantments, holding us at her mercy with some trifle, some echo, a tone of voice, a scent of tar and seaweed on the quay. . . . This surely is the meaning of home—a place where every day is multiplied by all the days before it.

There are many faces to the horrors of war-- decimation, mutilation, barbarity, and, of course, death itself. But one of the most savage and dehumanizing consequences of armed conflict is the prison system that springs up to house enemy combatants--and ordinary citizens too. These hellish camps encapsulate the lowest depths of human depravity; ruled by violence and degeneracy, political prisoners are forced to endure unthinkable conditions and unchecked cruelty--all without any chance of reprieve. Uta Christensen's latest novel, Caught: Surviving the Turbulent River of Life, chronicles this appalling consequence of war, weaving a narrative of atrocity that, despite its artful inventions and complex characters, is so starkly based on grim realities... that one cannot help but shudder. Caught tells the story of Janos, a young German boy kidnapped by the Nazis during WWII--and forced into a Russian prison camp. There, Janos must survive against all odds, fighting off starvation and death at every turn as the years march on... and he becomes a man. It is, in fact, within the hardships of this very crucible, that Janos thrives, overcoming the frailties and ignobilities of existence to discover friendship, compassion, and love--making him into the apotheosis of an upstanding, self-reliant citizen: a true model to all his fellow countrymen. Told in flashbacks, Caught: Surviving the Turbulent River of Life explores the intricate nature of suffering and memory, delving into the complexities of how the past--even the most vicious episodes--informs the present... and the very nature of the self. Uta Christensen, with striking prose and a poetic sensibility, brings the darker chapters of history to life in such a way that one is instantly captivated by a concurrent horror and pity, a sense of tragedy, but too a catharsis in overcoming, in human resilience and beauty itself. A truly breathtaking novel, Caught is a tour de force of literary perfection; poignant, unremitting, and painfully real, this book is essential reading for all those willing to face hard truths--and grow from them.

Pinned shoulder to shoulder, t-shirts extended in lines, The power of expression, is what "THE CLOTHESLINE" defines. Although each color symbolic, the threads weave the same, Each shirt a picture of violence, each shirt a witness to pain. The color white a memorial, for a victim who died, Simply, because of her gender, precious life was denied. Yellow signifies a victim, embraced by batter and assault, When intimacy turned into violence, as if loving was a fault. Shades of pink, red, and orange - when passion turned into rape, Denied the right to say "NO", by either stranger, or date. The blue and green bear nightmares, when a child of incest and misuse Was forced not to tell the "SECRETS", endured from physical and sexual abuse. See the beautiful shades of lavender, to the one not afraid to voice, A different sexual orientation, condemned, when in public made the choice. In the beginning they first choose the color, then allowing pain to flow from inside, Using buttons, bows, paints, and prose, self-expression no longer denied. As you walk through the line of color, emotional pain may fill your heart, But to the victim this personal creation, permits an inner healing to start. Pinned shoulder to shoulder, t-shirts extended in lines, The power of expression, is what "THE CLOTHESLINE" defines.

Vasanas are imprinted in textiles, traces of perfume and natural body oils and dirt locked in the weave of vintage silk, cotton, polyester. Holding the memories of the wearer. But what about the traces of the laborers embedded in the fabric? From farm to factory, the weavers, the spinners, the pickers of cotton bolls and silkworms, the fabric cutters and dyers, their sweat and blood pricked from a needle, vasana of touch. To be touched is to be made and unmade in relationship to another, another’s body, another’s desire, another’s trace, according to scholar Poulomi Saha.

Death brings up all kinds of thoughts. Of things long forgotten. Good memories. But also those strands of bad ones weaved in.

Because memory is reconstructive, it is subject to confabulation—confusing an event that happened to someone else with one that happened to you or coming to believe that you remember something that never happened. In reconstructing a memory, people draw on many sources. When you remember your fifth birthday party, you may have a direct recollection of your younger brother putting his finger in the cake and spoiling it for you, but you will also incorporate information that you got later from family stories, photographs, home videos, and birthday parties you’ve seen on television. You weave all these elements together into one integrated account. If someone hypnotizes you and regresses you to your fifth birthday party, you’ll tell a lively story about it that will feel terribly real to you, but it will include many of those party details that never actually happened. After a while, you won’t be able to distinguish your actual memory from subsequent information that crept in from elsewhere. That phenomenon is called “source confusion,” otherwise known as the “where did I hear that?” problem.

Photos are moments in the history. Reviving magical memories is weaving life with fantastic thread.

Years passed—or was it just a moment? Hard to say. Phyllis’s cognitive mind slipped farther and farther away and a different kind of awareness bloomed. The swamp breathed and she breathed with it. She saw everything: the creatures, the flowers, the tender shoots of green and the towering trees, the depths of the water. All that was dead and dying. All that was bursting with life. Her notebooks, tucked away in their plastic container, were gradually forgotten. The urge to record, to quantify, left her. Instead, she returned to the inclination that had guided her through all the years when her mind was sharp. The root of her curiosity: a simple and enduring desire to notice. There were moments during this last stretch when she occupied herself so completely that she forgot there had been any other time than now, any other way to exist but this. And there were also moments when she fought against the ebbing of logic and analysis, feeling adrift and upset, as if something precious had been taken from her that she would never have again. All of this was true. All of it was right. Memories of childhood dusted her skin like pollen. All it took was a brisk gust of wind to send it all scattering. She remembered learning—the crispness of a washed blackboard, a good mark on her paper, the perfect loneliness of a library; she remembered men she’d known and she remembered intimacy; she remembered her parents, having them and losing them; she remembered her sister, pretty and harsh and unwilling to imagine the future Phyllis had foreseen; she remembered teaching—the way her hands shook at the start of every term, her students and their litany of excuses; she remembered her research—working in the field, working at her desk, the minutiae of life glimpsed through a microscope; she remembered every forest she’d ever walked through; she remembered every city she’d ever visited; she remembered preparing, preparing, preparing. And then all of this was gone. Piece by piece, Phyllis said goodbye to each part of her life that had come before. She held on to Wanda the longest. As long as she could. She replayed every moment they had spent together. She repeated Wanda’s name to herself when Wanda left her alone in the tree house, reciting it like a chant, a prayer, so that when she came home, it would already be on her tongue. This didn’t always work. Sometimes Phyllis arrived in a moment she hadn’t been aware of—like time travel, hopping from one place to another with smooth, easy leaps. It was only when she saw the exhaustion on Wanda’s face that she realized she had missed something in between. “I’m sorry,” Phyllis said. “I think I…was somewhere else.” “That’s all right.” “What are we doing?” “We’re weaving nets. Do you want to help?” “Yes. Yes, please.” They sat

Comfortable in our chaos, Weaving our fabric together.

Felipe guided me into the nearby building and upstairs to the weaving room, where there were seven head-high wooden looms, some of the weavers sitting, thrusting the shuttles at right angles through the tight threads, pulling the beams down, working the treadles, and in all that effort—the rattle of skeletal frames and the stamping of treadles—lengthening the cloth by one thread. (Recalling that, it seems a fit image for what I am doing now, fussing with my fingers and hesitating, then tightening the line and starting again, minutes passing, this memory of weaving enlarged by one sentence.)

Behind every person is a story, a collection of moments that shape the contours of their existence. It's a narrative woven with threads of joy and sorrow, painted with strokes of laughter and tears. Each individual carries within them a unique history, a composition of experiences that define who they are. Beyond the surface, there are layers of emotions, a complex interplay of happiness, pain, and everything in between. It's a journey marked by footprints of relationships, imprints of challenges, and echoes of accomplishments. Behind every person is a living novel, a mosaic of memories, and a reflection of the intricate dance between resilience and vulnerability. So, in the weave of life, let's explore the myriad stories that make each person extraordinary and incomprehensibly beautiful.

Grief is like a shadow, lingering near, a silent companion, shedding a tear. It weaves through the soul with a fervent thread, a veil of memories, softly spread.

In phantom father's shadow, I still roam, A love unwritten, a yearning for home. First male touch, a myth my heart craves, His absence echoes in unspoken graves. I search for him in faces passing by, A familiar line, a flicker in their eye. His name a whisper on the wind's soft sigh, A ghost I chase, a tear that won't dry. But love, it blooms in unexpected ways, In mentors' wisdom, friends' unwavering gaze. In echoes of kindness, hands that hold me tight, In lessons learned from shadows and from light. So father, phantom, wherever you may be, Though you left me wanting, I set myself free. From the chains of longing, the hunger for your face, I build my own fortress, in this heart's embrace. With threads of resilience, I weave my own song, A tapestry of strength, where I belong. No longer searching in the empty air, My love blooms within, a flame I dare to share. And though the echo of your absence may remain, It no longer defines me, a dance in the rain. I rise above the loss, with spirit bright and bold, My own story unfolds, in colors yet untold. So let the phantom father fade into the mist, His memory a whisper, a lesson I've kissed. For I am the daughter, of courage and grace, And love, my own compass, lights up this space.

The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited. Do you think I am trying to weave a spell? Perhaps I am; but remember your fairy tales. Spells are used for breaking enchantments as well as for inducing them.

There is an evil in gaslighting that can be worse than the act itself. It makes you question your trauma. The body and soul remember, and yet your mind questions it, all because someone else’s words weaved into your memories and tore them apart.

Crystalfilm" Lost my grip and my vision gone dull I swing my hip like a dancer gone numb I saw your shadow, saw the skeleton run Now something’s missing from my memory of … you You shake my world from my ground to my head Distant noise that wake me out of bed I listen as the walls cave in I’m hanging on ’cause your memories spin on I lost my grip, I balanced it on a piece of paper True in one trip, it’s weaving in And I wait for later Who is leaning in on my yes to be? Who is sneaking in, is sneaking in on me, on me? I cut a house in half and turn a frown Distant painted walls and letters upside down I try to hold on, I try to hold on but you’re gone Then I try to let go but your memory’s still on I lost my grip, I balanced it on a piece of paper True in one trip, it’s weaving in And I wait for later Who is leaning in on my yes to be? Who is sneaking in, is sneaking in on me, on me? On me, on my

The Latin word textus comes from the verb meaning “to weave” and it is in the institutionalizing of a story through memoria that textualizing occurs.

The President called it the “Epitome of the American dream.” Daddy called it the “unholy alliance of business and government.” But all it really was, was America giving up. Bailing out in order to join the Financial Resource Exchange. A multinational alliance focused on one thing: profit. Fund global medical care to monopolize vaccines. Back unified currency to collect planet-wide interest. And provide the resources needed for a select group of scientists and military personnel to embark on the first trip across the universe in a quest to find more natural resources—more profit. The answer to my parents’ dreams. And my worst nightmare. And I know something about nightmares, seeing as how I’ve been sleeping longer than I’ve been alive. I hope. What if this is just a part of a long dream dreamt in the short time between when Ed locked the cryo door and Hassan pushed the button to freeze me? What if? It’s a strange sort of sleep, this. Never really waking up, but becoming aware of consciousness inside a too-still body. The dreams weave in and out of memories. The only thing keeping the nightmares from engulfing me is the hope that there couldn’t possibly be a hundred more years before I wake up. Not a hundred years. Not three hundred. Not three hundred and one. Please, God, no. Sometimes it feels like a thousand years have passed; sometimes it feels as if I’ve only been sleeping a few moments. I feel most like I’m in that weird state of half-asleep, half-awake I get when I’ve tried to sleep past noon, when I know I should get up, but my mind starts wandering and I’m sure I can never get back to sleep. Even if I do slip back into a dream for a few moments, I’m mostly just awake with my eyes shut. Yeah. Cryo sleep is like that. Sometimes I think there’s something wrong. I shouldn’t be so aware. But then I realize I’m only aware for a moment, and then, as I’m realizing it, I slip into another dream. Mostly, I dream of Earth. I think that’s because I didn’t want to leave it. A field of flowers; smells of dirt and rain. A breeze ... But not really a breeze, a memory of a breeze, a memory made into a dream that tries to drown out my frozen mind. Earth. I hold on to my thoughts of Earth. I don’t like the dreamtime. The dreamtime is too much like dying. They are dreams, but I’m too out of control, I lose myself in them, and I’ve already lost too much to let them take over. I push the dream-memory down. That happened centuries ago, and it’s too late for regrets now. Because all my parents ever wanted was to be a part of the first manned interstellar exploratory mission, and all I ever wanted was to be with them. And I guess it doesn’t matter that I had a life on Earth, and that I loved Earth, and that by now, my friends have all lived and gotten old and died, and I’ve just been lying here in frozen sleep.

But that's what dreams are for—to weave reality and fantasy and memory and stitch together something you can't hope for in waking life. To fulfill that little part of you that wants something so bad.

Reading and writing are solitary activities that increase a person’s capacity for concentration, awareness, and conceptual thought as the person weaves immediate information with stored memories.

The Armadillo A big fiesta was announced on Lake Titicaca, and the armadillo, who was a very superior creature, wanted to dazzle everybody. Long beforehand, he set to weaving a cloak of such elegance that it would knock all eyes out. The fox noticed him at work. “Are you in a bad mood?” “Don’t distract me. I’m busy.” “What’s that for?” The armadillo explained. “Ah,” said the fox, savoring the words, “for the fiesta tonight?” “What do you mean, tonight?” The armadillo’s heart sank. He had never been more sure of his time calculations. “And me with my cloak only half finished!” While the fox took off with a smothered laugh, the armadillo finished the cloak in a hurry. As time was flying, he had to use coarser threads, and the weave ended up too big. For this reason the armadillo’s shell is tight-warped around the neck and very open at the back. (174)

Although Arin was eager to see Kestrel, he would have to wait. He caught threads of music from far away. As he came across the grass, the piano’s melody strengthened. It opened within him a happiness that gathered and gleamed…glossy, but the way water is, with weight. A lovely fatigue claimed him. He lay down on the grass and listened. He thought about how Kestrel had slept on the palace lawn and dreamed of him. When she had told him this, he’d wished that it had been real. He tried to imagine the dream, then found himself dreaming. Everything made sense in his dream yet he felt the tenuousness of this perfect reason. The arch of Kestrel’s bare foot. An old tale about the god of death and the seamstress. Arin would lose, upon waking, his understanding of why touching Kestrel would arouse the memory of a story he’d not thought about in a long time. He dreamed: one stocking balled in his fist, and the stray question of how it had been made, who had sewn this? He saw his hands--though they did not look like his hands--measuring and cutting fabric, sewing invisible stitches. A dark-haired boy tumbled from a room, a god-mark upon his brow. When a guest entered and said, Weave me the cloth of yourself, Arin thought that he was the forbidding guest and the child and the sewing girl all at once. She said, I’m going to miss you when I wake up. Don’t wake up, he answered. But he did. Kestrel, beside him on the grass, said, “Did I wake you? I didn’t mean to.” It took him a velvety moment to understand that this was real. The air was quiet. An insect beat its clear wings. She brushed hair from his brow. Now he was very awake. “You were sleeping so sweetly,” she said. “Dreaming.” He touched her tender mouth. “About what?” “Come closer, and I’ll tell you.” But he forgot. He kissed her, and became lost in the exquisite sensation of his skin becoming too tight for his body. He murmured other things instead. A secret, a want, a promise. A story, in its own way. She curled her fingers into the green earth.

Orito pictures the human mind as a loom that weaves disparate threads of belief, memory, and narrative into an entity whose common name is Self, and which sometimes calls itself Perception.

Memory, it turns out, is not as reliable as we think. We do not encode high-definition movies of our experiences and then access them at will. Rather, memory is a system dispersed throughout the brain and is subject to all sorts of biases. Memories are suggestible. We often assemble fragments of entirely different experiences and weave them together into what seems like a coherent whole. With each recollection, we engage in editing.*

In the chains of my thoughts Weave you like a thread of memories.

In a world pulsating with constant motion and demands, the pursuit of health often becomes a beacon guiding us through the tumultuous seas of life. Health is not merely the absence of disease but rather a state of complete physical, mental, and social well-being. It is a precious asset, intricately woven into the fabric of our existence, impacting every facet of our lives. Understanding Health Holistically Health transcends the boundaries of the physical body, encompassing mental and emotional fortitude as well. It is the harmonious interplay between these dimensions that fosters a sense of equilibrium and vitality. Nurturing health, therefore, necessitates a holistic approach that attends to the interconnectedness of mind, body, and spirit. Cultivating Physical Vitality The cornerstone of physical health lies in nurturing our bodies with proper nutrition, regular exercise, and ample rest. A balanced diet rich in fruits, vegetables, lean proteins, and whole grains provides the essential nutrients to fuel our bodies and fortify our immune systems. Likewise, engaging in regular physical activity not only strengthens muscles and bones but also uplifts mood and enhances cognitive function. Adequate sleep is equally paramount, as it rejuvenates our bodies, bolsters immunity, and consolidates memories. Nurturing Mental Well-Being The mind, a sanctuary of thoughts and emotions, demands tender care and cultivation. Mental well-being flourishes in an environment of self-compassion, mindfulness, and resilience. Practicing mindfulness, through meditation or deep breathing exercises, fosters a sense of presence and tranquility, allowing us to navigate the ebb and flow of life with grace. Moreover, cultivating meaningful connections with others, nurturing hobbies and interests, and seeking professional support when needed, are indispensable tools in nurturing mental resilience and fortitude. Embracing Emotional Balance Emotions, the kaleidoscope of human experience, are an intrinsic aspect of our being. Embracing our emotions with openness and acceptance allows us to harness their transformative power, rather than being swept away by their tide. Emotional intelligence, the ability to recognize, understand, and manage our emotions, empowers us to navigate the complexities of interpersonal relationships with empathy and grace. Furthermore, fostering a sense of purpose and meaning in life imbues our existence with a profound sense of fulfillment and contentment, nurturing emotional equilibrium. Cultivating Social Connections Human beings are inherently social creatures, wired for connection and belonging. Cultivating meaningful relationships with family, friends, and community fosters a sense of belonging and support, buffering against the storms of life. Engaging in acts of kindness and compassion not only enriches the lives of others but also nourishes our own sense of well-being and fulfillment. Conclusion In the tapestry of life, health is the golden thread weaving its way through every experience, illuminating our path with vitality and resilience. Nurturing health is not merely a destination but rather an ongoing journey, requiring diligence, self-awareness, and a commitment to holistic well-being. By tending to the interconnected dimensions of mind, body, and spirit, we pave the way for a life imbued with vibrancy, purpose, and fulfillment.