
Colonel Quaritch, V. C.: A Tale of Country Life (1888), CHAPTER I, HAROLD QUARITCH MEDITATES
As quoted in Isherwood : A Life (2004) by Peter Parker, pp. 40-41; this reminiscence is from the first draft of the biographical study Isherwood did of his parents (Huntington CI 1082: 81). The version published in Kathleen and Frank (1971), chapter 15, p. 285 differs slightly.
Context: The images which remained in the memory are not in themselves terrible or rigorous: they are of boot-lockers, wooden desks, lists on boards, name-tags in clothes — yes, the name pre-eminently; the name which in a sense makes you nameless, less individual rather than more so: Bradshaw-Isherwood, C. W. in its place on some alphabetical list; the cold daily, hourly reminder that you are not the unique, the loved, the household’s darling, but just one among many. I suppose that this loss of identity is really much of the painfulness which lies at the bottom of what is called Homesickness; it is not Home that one cries for but one’s home-self.
Colonel Quaritch, V. C.: A Tale of Country Life (1888), CHAPTER I, HAROLD QUARITCH MEDITATES
“I have terrible short-term memory loss, which I like to think of as Presidential eligibility.”
" Paula Poundstone: Look What the Cat Dragged In http://www.imdb.com/title/tt0896560/", Bravo channel, November 7, 2006.
“Memory is your image of perfection.”
Love For Sale – The Words and Pictures of Barbara Kruger, Museum of Modern Art at Heide, Melbourne, Australia, 17th October – 24th November 1996
Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: p>The difficultest rigor is forthwith,
On the image of what we see, to catch from that
Irrational moment its unreasoning,
As when the sun comes rising, when the sea
Clears deeply, when the moon hangs on the wall Of heaven-haven. These are not things transformed.
Yet we are shaken by them as if they were.
We reason about them with a later reason.</p
Quote of Degas in 1883, as cited by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 30 note 10
Degas confided this to Pierre-George Jeanniot
1876 - 1895
“but he only found her in the image that saturated his private and terrible solitude.”
Source: One Hundred Years of Solitude