Andre Breton Quotes

Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins.

You can lose your way groping among the shadows of the past. It's frightening how many people and things there are in a man's past that have stopped moving. The living people we've lost in the crypts of time sleep so soundly side by side with the dead that the same darkness envelops them all. As we grow older, we no longer know whom to awaken, the living or the dead.

What I love about the sculpture is that it makes the bones that we are always walking and playing on manifest, like in a world that so often denies the reality of death and the reality that we are surrounded by and outnumbered by the dead. Here, is a very playful way of acknowledging that and acknowledging that and that always, whenever we play, whenever we live, we are living in both literal and metaphorical ways on the memory and bones of the dead.

As life runs on, the road grows strange with faces new - and near the end. The milestones into headstones change, Neath every one a friend.

I admit that death is not just about you, it's also about the people who love you.

Posthumous reputations have little to do with real lives.

Whenever I prepare for a journey I prepare as though for death. Should I never return, all is in order.

I'm going to die with Alexander's hand on my face, Tatiana thought. That is not a bad way to die. I cannot move. I can't get up. Just can't. She closed her eyes and felt herself drifting. Through the haze in front of her she heard Alexander's voice. "Tatiana, I love you. Do you hear me? I love you like I've never loved anyone in my whole life. Now, get up. For me, Tatia. For me, please get up and go take care of your sister. Go on. And I'll take care of you.

Rain in the graveyard, and the world puddled into blurred reflections.

What we leave behind in this life is the memory of who we were and what we did. An imprint, no more.

To be rich, to be famous? do these profit a year hence, when other names sound louder than yours, when you lie hidden away under ground, along with the idle titles engraven on your coffin? But only true love lives after you, follows your memory with secret blessings or pervades you, and intercedes for you. Non omnis moriar, if, dying, I yet live in a tender heart or two; nor am lost and hopeless, living, if a sainted departed soul still loves and prays for me.

If I indulge myself and surrender to memory, I can still feel the knot of excitement that gripped me as I turned the corner into Rue Mimosas, looking for the house of Rene Magritte. It was August, 1965. I was 33 years old and about to meet the man whose profound and witty surrealist paintings had contradicted my assumptions about photography.

Life is a memory, and then it is nothing.

Our memory is a more perfect world than the universe: it gives back life to those who no longer exist.

When we see the many grave-stones which have fallen in, which have been defaced by the footsteps of the congregation, which lie buried under the ruins of the churches, that have themselves crumbled together over them; we may fancy the life after death to be as a second life, into which man enters in the figure, or the picture or the inscription, and lives longer there than when he was really alive. But this figure also, this second existence, dies out too, sooner or later. Time will not allow himself to be cheated of his rights with the monuments of men or with themselves.

The names are the first things to go, after the breath has gone, and the beating of the heart. We keep our memories longer than our names.

When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.

But soon we shall die and all memory of those five will have left the earth, and we ourselves shall be loved for a while and forgotten. But the love will have been enough; all those impulses of love return to the love that made them. Even memory is not necessary for love. There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning.

I can remember how when I was young I believed death to be a phenomenon of the body; now I know it to be merely a function of the mind -- and that of the minds who suffer the bereavement. The nihilists say it is the end; the fundamentalists, the beginning; when in reality it is no more than a single tenant or family moving out of a tenement or a town.

How surely are the dead beyond death. Death is what the living carry with them. A state of dread, like some uncanny foretaste of a bitter memory. But the dead do not remember and nothingness is not a curse. Far from it.

There is nothing more terrible, I learned, than having to face the objects of a dead man. Things are inert: that have meaning only in function of the life that makes use of them. When that life ends, the things change, even though they remain the same. […] they say something to us, standing there not as objects but as remnants of thought, of consciousness, emblems of the solitude in which a man comes to make decisions about himself.

I wish I could leave you certain of the images in my mind, because they are so beautiful that I hate to think they will be extinguished when I am. Well, but again, this life has its own mortal loveliness. And memory is not strictly mortal in its nature, either. It is a strange thing, after all, to be able to return to a moment, when it can hardly be said to have any reality at all, even in its passing. A moment is such a slight thing. I mean, that its abiding is a most gracious reprieve.

All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.