It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down.
Wars make history seem deceptively simple. They provide clear turning points, easy distinctions.: before and after, winner and loser, right and wrong. True history, the past, is not like that. It isn't flat or linear. It has no outline. It is slippery, like liquid; infinite and unknowable, like space. And it is changeable: just when you think you see a pattern, perspective shifts, an alternate version is proffered, a long-forgotten memory resurfaces.
Children don’t require of their parents a past and they find something faintly unbelievable, almost embarrassing, in parental claims to a prior existence.
Cassandra wondered at the mind's cruel ability to toss up flecks of the past. Why, as she neared her life's end, her grandmother's head should ring with the voices of people long since gone. Was it always this way? Did those with passage booked on death's silent ship always scan the dock for faces of the long-departed?
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