23
" It is not enough to live here and now. Not enough for me, anyway. I need those imaginative leaps out of my own time frame and into other places - places where things were done differently. Reading has provided me with that, for the most part, but it is objects, things like these scraps of pottery, that have most keenly conjured up all those elsewheres - inaccessible but eerily available to the imagination. The past is irretrievable, but it lurks. It sends out tantalizing messages, coded signals in the form of a clay pipe stem, a smashed wine bottle. Two leaping fish from twelfth-century Cairo. I can't begin to understand what that time was like, or how the men who made them lived, but I can know that it all happened - that old Cairo existed, and a particular potter. To have the leaping fish sherd on my mantelpiece - and all those other sherds in the cake tin - expands my concept of time. There is a further dimension to memory; it is not just a private asset, but something vast, collective, resonant. And all because fragments of detritus survive, and I can consider them. "
― Penelope Lively , Dancing Fish and Ammonites: A Memoir
26
" ...collective memory is unevenly distributed: some people have a rich and deep resource, for others it is minimal. A matter of education, and also of inclination. But however minimal, however threadbare, it is ballast of a kind. We all need that seven-eighths of the iceberg, the ballast of the past, a general past, the place from which we came.
That is why history should be taught in school, to all children, as much of it as possible. If you have no sense of the past, no access to the historical narrative, you are afloat, untethered; you cannot see yourself as a part of the narrative, you cannot place yourself within a context. You will not have an understanding of time, and a respect for memory and its subtle victory over the remorselessness of time. "
― Penelope Lively , Dancing Fish and Ammonites: A Memoir