Siri Hustvedt Quotes

The best works of art are never innocuous: they alter the viewer's perceptual predictions. It is only when the patterns of our vision are disrupted that we truly pay attention and must ask ourselves what we are looking at.

My memory of the school building itself, its rooms and lockers, blackboards, and hallways, bring on a heavy, oppressive feeling. Whether I was more unhappy in school than any of my friends I don't know. I never would have said I didn't like school, and there are moments I distinctly remember enjoying, but these truths don't alter my memory of that place.

Memory is essential to who we are, and memories can be both implicit and explicit - unconscious and conscious.

The Singularity is at once an escape and a birth fantasy. I said to him: A Zeus dream that avoids the organic body altogether. Brand-new creatures burst forth from men's heads. Presto! The mother and her evil vagina disappears.

Again, I don't fully understand my emotion response to the library or trust it. It was the site of a series of intellectual revelations that were crucial to me, not just as a student but as a human being.

Memory changes as a person matures.

Memory offers up its gifts only when jogged by something in the present. It isn't a storehouse of fixed images and words, but a dynamic associative network in the brain that is never quiet and is subject to revision each time we retrieve an old picture or old words.

I see what I did not see. I experience that which is outside my own experience. This is the magic of reading novels. This is the working out of the problem of illusion. I take a book off the shelf. I open it up and begin to read, and what I discover in its pages is real.

Because I knew so much about him, because I had been close to him, I couldn't bring the various fragments of my experience with him into a single coherent image. The truth was mobile and contradictory, and I was willing to live with that.

Are not dreams as much a part of living as waking life is?

Do you know that I can't remember her face? Try as I may, it will not be conjured. I can tell you what she looked like; I can recite a description of her features, part by part, but I cannot evoke the whole face.''Don't you have a photograph?''Photographs!' He spat out the word. 'I'm talking about true recollection - seeing the face.

Libraries are sexual dream factories. The langour brings it on.

I said very little. I knew that for the time being I was the open air, the place to put the words, not a real interlocutor. And then, ekthout a transition of any kind, she began to tell me .... {p. 134}

Ture stories can't be told forward, only backward. We invent them from the vantage point of an ever-changing present and tell ourselves how they unfolded.

The advice is a call to empathy, the ultimate act of the imagination, and the true ground of all fiction.

The fictive is an emormous territory it turns out, its boundaries vague, and there is little certainty about where it begins and ends.

The faculty of memory cannot be separated from the imagination. They go hand in hand. To one degree or another, we all invent our personal pasts. And for most of us those pasts are built from emotionally colored memories.

My purely practical advice: Don't get excited. Don't raise your voice. Bite back. Bite back hard, but never cry.

There is no perception without memory. But good art surprise us. Good art reorients our expectations, forces us to break the pattern, to see in a new way.

In this early memory he looks different from the way I would remember him later.

I've come to think of consciousness as a continuum of states, from fully awake cogitation to daydreaming to the altered consciousness of hallucinations and dreams. Still, interpreting dreams can only take place when we're awake. I believe meaning is what the mind makes and wants. It's essential to perception and to consciousness in all its forms. But the important meanings of psychotherapy are subjective. There's a lot of research that confirms that drem content reflects the dreamer's emotional conflicts.

We must all allow ourselves the fantasy of projection from time to time, a chance to clothe ourselves in the imaginary gowns and tails of what has never been and never will be. This gives some polish to our tarnished lives, and sometimes we may choose one dream over another, and in the choosing find some respite from ordinary sadness. After all, we, none of us, can ever untangle the knot of fictions that make up that wobbly thing we call a self.

Dreams are stories made by and for the dreamer, and each dreamer has his own folds to open and knots to untie.

Maybe the world isn't enough, or maybe the distinction between the world and fiction is not so clear. Fiction is made from the stuff of the world, after all, which includes dreams and wishes and fantasies and memory. And it is never really made alone, but from the material between and among us: language.

It is true that I suffered in a difficult and stupid love affair and that I worked at one bad job after another to try to keep myself going. Nevertheless, I remember that time as extraordinary, and I wouldn't trade it for anything. I don't even wish now that I had more money. And had I been asked if I was suffering at the time, I would have said a defiant no.

No one rejoices more in revenge than women, wrote Juvenal. Women do most delight in revenge, wrote Sir Thomas Browne. Sweet is revenge, especially to women, wrote Lord Byron. And I say, I wonder why, boys. I wonder why.