Quotes about retrospect

A collection of quotes on the topic of retrospect, retrospective, retrospectivity, life.

Quotes about retrospect

Anaïs Nin photo

“We write to taste life twice, in the moment and in retrospect.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

February 1954 The Diary of Anaïs Nin, Vol. 5 as quoted in Woman as Writer (1978) by Jeannette L. Webber and Joan Grumman, p. 38
Diary entries (1914 - 1974)
Context: We write to taste life twice, in the moment, and in retrospection. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it.
Context: The artist is the only one who knows that the world is a subjective creation, that there is a choice to be made, a selection of elements. It is a materialization, an incarnation of his inner world. Then he hopes to attract others into it. He hopes to impose his particular vision and share it with others. And when the second stage is not reached, the brave artist continues nevertheless. The few moments of communion with the world are worth the pain, for it is a world for others, an inheritance for others, a gift to others, in the end. When you make a world tolerable for yourself, you make a world tolerable for others.
We also write to heighten our own awareness of life. We write to lure and enchant and console others. We write to serenade our lovers. We write to taste life twice, in the moment, and in retrospection. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it. We write to teach ourselves to speak with others, to record the journey into the labyrinth. We write to expand our world when we feel strangled, or constricted, or lonely. We write as the birds sing, as the primitives dance their rituals. If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don't write, because our culture has no use for it. When I don't write, I feel my world shrinking. I feel I am in a prison. I feel I lose my fire and my color. It should be a necessity, as the sea needs to heave, and I call it breathing.

Richard Brinsley Sheridan photo
Heath Ledger photo
Marilynne Robinson photo
Sue Monk Kidd photo

“We write to taste life twice," Anais Nin wrote, "in the moment and in retrospection.”

Sue Monk Kidd (1948) Novelist

Source: Traveling With Pomegranates: A Mother-Daughter Story

Sigmund Freud photo
Stephen King photo
Bertrand Russell photo
Noam Chomsky photo
C.G. Jung photo
Dylan Moran photo
Sherrilyn Kenyon photo
Ansel Adams photo
Steven Erikson photo
Robert Frost photo
Chuck Palahniuk photo
Paul Theroux photo

“Travel is glamorous only in retrospect.”

Paul Theroux (1941) American travel writer and novelist

“Paul Theroux, Restless Writer Of the Rails“ by Paul Hendrickson, Washington Post (September 20, 1979).

Chuck Palahniuk photo

“Everything is funnier in retrospect, funnier and prettier and cooler. You can laugh at anything from far enough away.”

Chuck Palahniuk (1962) American novelist, essayist

Stranger Than Fiction: True Stories (2004)
Source: Stranger than Fiction

George Dantzig photo
Salmon P. Chase photo
Jim Garrison photo
Colin Wilson photo
Buckminster Fuller photo
Narada Maha Thera photo
Andy Warhol photo
Douglas MacArthur photo
Sarah Brightman photo
Roy Jenkins photo

“In retrospect we might have been more cautious about allowing the creation in the 1950s of substantial Muslim communities here, although when one observes the, in some ways, greater problems which France and Germany have in this respect, it is an illusion to believe that in the integrated world of today any major country can remain exclusively indigenous.”

Roy Jenkins (1920–2003) British politician, historian and writer

'On Race Relations and the Rushdie Affair', The Independent Magazine (4 March 1989), p. 16, quoted in Elham Manea, Women and Shari'a Law: The Impact of Legal Pluralism in the UK (I.B. Tauris, 2016), p. 256.
1980s

William Gibson photo

“Drugs were absolutely central to that experience, but they weren't essential. I only know that in retrospect. At the time I'm sure I would have said that they were.”

William Gibson (1948) American-Canadian speculative fiction novelist and founder of the cyberpunk subgenre

No Maps for These Territories (2000)

Johannes Grenzfurthner photo
Cormac McCarthy photo
Randolph Bourne photo
Terry Eagleton photo

“Understanding is always in some sense retrospective, which is what Hegel meant by remarking that the owl of Minerva flies only at night.”

Terry Eagleton (1943) British writer, academic and educator

Afterword, p. 190
1980s, Literary Theory: An Introduction (1983)

Phillip Guston photo
Anthony Burgess photo

“I had felt sick before and had been saved by Sekt. Now I was beginning to feel sick of the Sekt. I would, I knew, shortly have to vomit…. I started gently to move towards one of the open windows. The aims of the artistic policy enunciated by the National Chamber of Film might, said Goebbels, be expressed under seven headings. Oh Christ. First, the articulation of the sense of racial pride, which might, without reprehensible arrogance, be construed as a just sense of racial superiority. Just, I thought, moving towards the breath of the autumn dark, like the Jews, just like the. This signified, Goebbels went on, not narrow German chauvinism but a pride in being of the great original Aryan race, once master of the heartland and to be so again. The Aryan destiny was enshrined in the immemorial Aryan myths, preserved without doubt in their purest form in the ancient tongue of the heartland. Second. But at this point I had made the open window. With relief the Sekt that seethed within me bore itself mouthward on waves of reverse peristalsis. Below me a great flag with a swastika on flapped gently in the night breeze of autumn. It did not now lift my heart; it was not my heart that was lifting. I gave it, with gargoyling mouth, a litre or so of undigested Sekt. And then some strings of spittle. It was not, perhaps, as good as pissing on the flag, but, in retrospect, it takes on a mild quality of emblematic defiance…”

Anthony Burgess (1917–1993) English writer

Fiction, Earthly Powers (1980)

Mary McCarthy photo
Émile Durkheim photo
Milan Kundera photo
Glen Cook photo

“Fools can make an omen of anything in retrospect.”

Source: The Black Company (1984), Chapter 1, “Legate” (p. 11)

“The basic idea of sensemaking is that reality is an ongoing accomplishment that emerges from efforts to create order and make retrospective sense of what occurs.”

Karl E. Weick (1936) Organisational psychologist

Weick (1993, p. 635), as cited in: Bruce K. Berger, ‎Juan Meng (2014), Public Relations Leaders as Sensemakers, p. 7
1980s-1990s

Gloria Estefan photo
Rachel Whiteread photo

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Christopher Hitchens photo
Chuck Klosterman photo

“We all have the potential to fall in love a thousand times in our lifetime. It's easy. The first girl I ever loved was someone I knew in sixth grade. Her name was Missy; we talked about horses. The last girl I love will be someone I haven't even met yet, probably. They all count. But there are certain people you love who do something else; they define how you classify what love is supposed to feel like. These are the most important people in your life, and you'll meet maybe four or five of these people over the span of 80 years. But there's still one more tier to all this; there is always one person who you love who becomes that definition. It usually happens retrospectively, but it always happens eventually. This is the person who unknowingly sets the template for what you will always love about other people, even if some of those lovable qualities are self-destructive and unreasonable. You will remember having conversations with this person that never actually happened. You will recall sexual trysts with this person that never technically occurred. This is because the individual who embodies your personal definition of love does not really exist. The person is real, and the feelings are real--but you create the context. And context is everything. The person who defines your understanding of love is not inherently different than anyone else, and they're often just the person you happen to meet the first time you really, really want to love someone. But that person still wins. They win, and you lose. Because for the rest of your life, they will control how you feel about everyone else.”

Killing Yourself to Live: 85% of a True Story (2005)

Roger Ebert photo
Paul Bourget photo

“Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the 'timbre' of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.”

Paul Bourget (1852–1935) French writer

Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

Winston S. Churchill photo
Edward Teller photo

“I believe that no endeavor that is worthwhile is simple in prospect; if it is right, it will be simple in retrospect.”

Edward Teller (1908–2003) Hungarian-American nuclear physicist

As quoted in The Martians of Science : Five Physicists Who Changed the Twentieth Century (2006) by István Hargittai, p. 251

Benjamin Graham photo
Lydia Maria Child photo
Gottfried Helnwein photo

“In retrospect I would say from Donald Duck I have learned more about life than from all the schools I ever attended.”

Gottfried Helnwein (1948) Austrian photographer and painter

Memories of Duckburg, http://www.helnwein.com/texte/helnweintexts/artikel_398.html, Zeit Magazin, Hamburg, 1989

Peter Sloterdijk photo
Anthony Burgess photo

“Rosemary’s reputation was known; he would, by obscure logic, become retrospectively a cuckold.”

Anthony Burgess (1917–1993) English writer

Fiction, Beds in the East (1959)

Richard Holbrooke photo
Noam Chomsky photo
Ernest Bevin photo

“In retrospect, each of the steps toward this abyss seemed irrevocable, and yet they had all been so small!”

Source: A Case of Conscience (1958), Chapter 13 (p. 158)

Richard Holbrooke photo
John Gray photo
Jacob Bronowski photo
George Raymond Richard Martin photo

“Back at the Philadelphia Worldcon (which seems a million years ago), I announced the famous five-year gap: I was going to skip five years forward in the story, to allow some of the younger characters to grow older and the dragons to grow larger, and for various other reasons. I started out writing on that basis in 2001, and it worked very well for some of my myriad characters but not at all for others, because you can't just have nothing happen for five years. If things do happen you have to write flashbacks, a lot of internal retrospection, and that's not a good way to present it. I struggled with that essentially wrong direction for about a year before finally throwing it out, realizing there had to be another interim book. That became A Feast for Crows, where the action is pretty much continuous from the preceding book. Even so, that only accounts for one year. Why the four after that? I don't know, except that this was a very tough book to write -- and it remains so, because I've only finished half. Going in, I thought I could do something about the length of the second book in the series, A Clash of Kings, roughly 1,200 pages in manuscript. But I passed that and there was a lot more to write. Then I passed the length of the third book, A Storm of Swords, which was something like 1,500 pages in manuscript and gave my publishers all around the world lots of production problems. I didn't really want to make any cuts because I had this huge story to tell. We started thinking about dividing it in two and doing it as A Feast for Crows, Parts One and Two, but the more I thought about that the more I really did not like it. Part One would have had no resolution whatsoever for 18 viewpoint characters and their 18 stories. Of course this is all part of a huge megaseries so there is not a complete resolution yet in any of the volumes, but I try to give a certain sense of completion at the end of each volume -- that a movement of the symphony has wrapped up, so to speak.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

Interview with Locus magazine (November 2005)

Cees Nooteboom photo
Johannes Grenzfurthner photo
David Brin photo
Max Beerbohm photo
Bram van Velde photo

“An artist’s life is all very fine and moving. But only in retrospect. In books.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Cormac McCarthy photo
Nassim Nicholas Taleb photo
Ralph Waldo Emerson photo
Louise Bourgeois photo

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Louise Bourgeois (1911–2010) American and French sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007:

“It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed."”

Robert Hughes (1938–2012) Australian critic, historian, writer

These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead.
Page 195
Culture of Complaint (1993)

John Buchan photo
Russell L. Ackoff photo

“The effort to get rid of what we do not want is reactive, retrospectively oriented problem solving. The effort to obtain what we want is proactive, prospectively oriented problem solving.”

Russell L. Ackoff (1919–2009) Scientist

Cited in: Chris Griffiths, Melina Costi (2011) GRASP: The Solution. p. 64.
1970s, The Art of Problem Solving, 1978

John A. Eddy photo

“We had adopted a kind of solar uniformitarianism," solar physicist John (Jack) Eddy suggested in retrospect. "As people and as scientists we have always wanted the Sun to be better than other stars and better than it really is.”

John A. Eddy (1931–2009) American astronomer

Source: Changing Sun, Changing Climate? by Spencer Weart http://www.aip.org/history/climate/solar.htm#M_27_

Evelyn Waugh photo
Fred Brooks photo
Lana Turner photo

“In retrospect I must say that being a manager or being a priest I don't really know if there's that much of a difference, right, it's all about guiding lost souls.”

Corinna Cortes (1961) computer scientist

At Women Techmakers Summit: NY - My Personal Story, and My Work at Google Research with Corinna Cortes https://www.youtube.com/watch?v=dVIIib1OON4 6:13. Reflecting on her own educational background.

“In retrospect, our triumphs could as easily have happened to someone else; but our defeats are uniquely our own.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Unclassified

Waheeda Rehman photo
Emily Dickinson photo