Quotes About Nostalgia

How lovely. The old lady sighed. An office romance. I always wanted an office romance. Of course I never really had a job, which made the situation more challenging. Oh, I worked on an assembly line during World War II, but there weren't very many men around and as my husband was off serving his country, an office romance would have been unpatriotic, don't you think?--Mrs. Ford

Did you bring your camera?" Gracie grabbed her trusty Polaroid from under her arm and held it out. Light from the streetlamp glinted off the narrow lens.

I realized then how much alike we were. Both of us looked backwards to a beloved time that was lost to us, a time where everything had been beautiful. Both of us looked forward to some time and place that would be better. And both of us were here, now, in a grim, unhappy time where little was as we wanted it to be. We lived in our memories and in our hopes, enduring the present because we had no other choice, and because we loved the people who lived here with us.

The world we made together is gone now. Silk and cinnamon do not bring it back to me as clearly as the smell of potatoes frying with onions, or the purr of a cat, or the feel of a knot beneath my fingers. And that in itself is proof of how the voyage changed me, who set out only wanting to see anything new and different.

Churchill gave the perfect riposte: "When I hear a man say that his childhood was the happiest time of his life, I think, my friend, you have had a pretty poor life.

For many listeners, the exciting new music we discovered when we were young becomes the reliable playlist we stick with in middle age.

A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs—especially those of people, of distant landscapes and faraway cities, of the vanished past—are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic feelings of those for whom desirability is enhanced by distance.

The photographer is now charging real beasts, beleaguered and too rare to kill. Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature - tamed, endangered, mortal - needs to be protected from people. When we are afraid, we shoot. But when we are nostalgic, we take pictures.

The problem isn't that people remember through photographs but that they remember only the photographs.

But the past is the biggest country of all, and there's a reason one gives in to the desire to set stories in the past: almost everything good seems located in the past, perhaps that's an illusion, but I feel nostalgic for every era before I was born; and one is freer of modern inhibitions, perhaps because one bears no responsibility for the past, sometimes I feel simply ashamed of the time in which I live.

I got through my childhood in a delirium of literary exaltations.

The memory of war, however, like all memory, is mostly local.

It's a pleasure to share one's memories. Everything remembered is dear, endearing, touching, precious. At least the past is safe—though we didn't know it at the time. We know it now. Because it's in the past; because we have survived.

As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure.

The problem is not that people remember through photographs, but that they remember only the photographs. This remembering through photographs eclipses other forms of understanding, and remembering.

The lover's photograph hidden in a married woman's wallet, the poster photograph of a rock star tacked up over an adolescent's bed, the campaign-button image of a politician's face pinned on a voter's coat, the snapshots of a cabdriver's children clipped to the visor--all such talismanic uses of photographs express a feeling both sentimental and implicitly magical: they are attempts to contact or lay claim to another reality.

People robbed of their past seem to make the most fervent picture takers, at home and abroad.

And it is in this gap between resemblance and identity that nostalgic desire arises. The nostalgic is enamored of distance, not of the referent itself. Nostalgia cannot be sustained without loss.

For memory, we use our imagination. We take a few strands of real time and carry them with us, then like an oyster we create a pearl around them. —John Banville

What is home? Maybe it's not a place, but a moment in time. When I was safe. Secure. Cared for. Home. It's more than a point on a map. It's a sensation. A feeling of comfort—feet

It was a store-bought sugar cookie. Not as good as Mamma's, of course. Mamma made hers with a secret ingredient- ricotta cheese- and thick, sweet icing. Now that was a cookie.

No, this was the kind of moment that made everything stop. You separated it from every other one, pressing the feeling to your heart, like a dried flower slipped between the pages of a beloved book. The moment was made of something fragile and delicate, yet it possessed the power to last forever.

Isabel felt soft and yielding; her blouse felt soft. Everything about her seemed soft, and she smelled of dried flowers, rosemary, fresh baked bread. This whole kitchen seemed alive with a peculiar energy; in the old fixtures and furniture, Tess sensed a place where cooking and eating had happened for decades, where people gathered to sample life's sweetest pleasures.

She made them honey butter fried chicken and buttermilk biscuits the way her mother had taught her, with White Lily flour and the butter shredded on a box grater. She served charred eggplant with cilantro pesto, polenta pasticciata, grilled corn, and fried dill pickles.