Quotes About Nostalgia

Å, som hun savnet de svale, tåkete morgenene hjemme i Irland. Lukten av regn og gress, havet som slo inn mot de svarte klippene og den beske lukten av brennende torv i ovnen. (...) Velda tvang bort de forræderske tankene på Irland. Hun visste de bare dukket opp i svake stunder, og hun visste at hun ville følge mannen sin til verdens ende - selv om det var varmt som i helvetet og dobbelt så ubehagelig.

John Jay og Beatty dukket fram fra en treklynge, de leide hestene i tøylene mens de langsomt spaserte ut i sollyset, tydeligvis fortapt for alt annet enn hverandre.(...) Du store tid, du får det til å høres ut som om vi var på deres alder, la hun til og nikket mot det middelaldrende parets silhuetter mot våningshuset.

Vinden hadde stilnet, og nå, mens luften tyknet og et kobberskarpt lyn fortengte den milde duften av eukalyptus og akasie, mintes hun de første årene av sitt ekteskap. Fortiden tok henne igjen, visket ut nåtiden, og ble så livaktig at det var som om de mellomliggende årene aldri hadde eksistert.

I am, of course, romanticizing; a chronic tendency of mine.

I weaned myself on the nostalgia equivalent of methadone (less addictive, less obvious, less likely to make you crazy): missing what I had never had.

My memories of them had rubbed thin with overuse, worn to frail color transparencies flickering on the walls of my mind

I've only got a handful of memories, and I don't want them wearing away, textures rubbing smooth, colors fading from overexposure. When I take them out, once in a blue moon, I need them bright enough to catch my breath and sharp enough to cut.

When you look at someone you knew when you were young, you always see the person you first met,

Something rippled round the table: a loosening, a settling, a long sigh too low to hear. Un ange passe, my French grandfather would have said: an angel is passing. Somewhere upstairs I heard the faint, dreamy note of a clock striking.

My memories of them had rubbed thin with overuse, worn to frail color transparencies flickering on the walls of my mind: Jamie scrambling intent and surefooted up to a high branch, Peter's laugh arcing out of the trompe-l'oeil dazzle of green ahead. Through some slow sea change they had become children out of a haunting storybook, bright myths from a lost civilization; it was hard to believe they had once been real and my friends.

It was sort of like, you know Sean Callaghan, Sean from the dig? He used to be in this band only they broke up, and he's always talking about 'Oh, when we get the band back together, when we make it big…' And, I mean, he knows they're never gonna do it, but talking about it makes him feel better." "We've all been in that band," Cassie said, smiling.

When you stop being a kid, you lose your one chance at that too-tender-to-touch gold, that breathtaken everything and forever. Once you start growing up and getting sense, the outside world turns real, and your own private world is never everything again.

I love messy homes, homes where a woman and kids have left their mark on every inch: sticky finger marks down the walls, trinkets and nests of pastel hair-gadgets on the mantelpiece, that smell of flowery things and ironing.

She smelled of sweet safe things I hadn't smelt in years,

I hate nostalgia, it's laziness with prettier accessories,

but all it takes is one whiff of the right smell—jasmine, lapsang souchong, a specific old-fashioned soap that I've never been able to identify—or one sideways shaft of afternoon light at a particular angle, and I'm lost, in thrall all over again.

there are deep stubborn veins of nostalgia for the 1950s (even among people my age; in much of Ireland the fifties didn't end until 1995, when we skipped straight to Thatcher's eighties),

When Cal hangs up he has the same empty feeling he always gets after talking to Alyssa these days, a sense that somehow, in spite of having been on the phone for all that time, they haven't had a conversation at all; the whole thing was made of air and tumbleweed, nothing solid there. When she was a little kid she would trot along holding his hand and tell him everything, good and bad, it all poured straight from her heart to her mouth. He can't remember when that changed.

I am not good at noticing when I'm happy, except in retrospect. My gift, or fatal flaw, is for nostalgia

am not good at noticing when I'm happy, except in retrospect. My gift, or fatal flaw, is for nostalgia. I have sometimes been accused of demanding perfection, of rejecting heart's desires as soon as I get close enough that the mysterious impressionistic gloss disperses into plain solid dots, but the truth is less simplistic than that. I know very well that perfection is made up of frayed, off-struck mundanities.

When she was a little kid she would trot along holding his hand and tell him everything, good and bad, it all poured straight from her heart to her mouth. He can't remember when that changed.

I leaned my arms on the Ha'penny Bridge where people used to pay half a penny to cross the Liffey, I looked out at the Custom House and the shifting streams of lights and the steady dark roll of the river under the falling snow, and I hoped to God that somehow or other, before it was too late, we would all find our way back home.

I looked out over the water, into the night that was coming in on the tide, and I felt nothing at all. The beach looked like something I had seen in an old film, once upon a time; that hotheaded boy felt like a character from some book I had read and given away in childhood. Only, somewhere far inside my spine and deep in the palms of my hands, something hummed; like a sound too low to hear, like a warning, like a cello string when a tuning fork strikes the perfect tone to call it awake.

I don't think about my parents much. I've only got a handful of memories, and I don't want them wearing away, textures rubbing smooth, colors fading from overexposure. When I take them out, once in a blue moon, I need them bright enough to catch my breath and sharp enough to cut.