When he wrote Remembrance of Things Past, Marcel Proust was trying to capture the essence of events that no longer existed except in his memories of them. He wanted to articulate the day-to-day feeling and evoke the sensations that had once been so real to him, the link between Sacred Memory and the Present Moment. He would tap into moments in time through his recollection of sights and scents and sounds. The resonance of memory for him lay not just in the moment that was being retrieved, but in the process and reason used to initiate the act of remembering. By the very immersion in scenes from his life, Proust was revising and coloring them from where he was as he wrote down the words describing the elusive past. Like the details of the Vermeer paintings he recalled, he wanted to apprehend again the detailed experience of all he had once known, but he could not be sure he had grasped what it was.
Our creativity with memory is inevitable, for we are all drawn over and over again to new versions of the visual and tangible effects of the memories we hold. Each memory cannot be accessed by us without our changing its content and form at once. This is an ongoing, familiar process that we each experience, with the result that both traumatic and joyful events, in time, are most often perceived very differently from the original event.
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