The memory of most men is an abandoned cemetery where lie, unsung and unhonored, the dead whom they have ceased to cherish.

The memory of most men is an abandoned cemetery where lie, unsung and unhonored, the dead whom they have ceased to cherish. Any lasting grief is reproof to their neglect.

"In many instances nothing marked the spot where lay the vestiges of some poor mortal-who, leaving "a large circle of sorrowing friends," had been left by them in turn-except a depression in the earth, more lasting than that in the spirits of the mourners."

In the State of Denmark there was the odor of decay...

La mémoire de la plupart des hommes est un cimetière abandonné, où gisent sans honneurs des morts qu'ils ont cessé de chérir.

The numerous chimneys with their fantastic shapes rose grimly in the moonlight, like a strange band of goblin sentinels, perched of the roof to watch the mansion. The general effect was that of an ancient structure falling to decay, deserted by all inhabitants save the rats that gnawed the wainscot along the thick old walls. The door-plate that glittered on the faded door, half covered as it was with rust and verdigris, with its saintly name afforded the only signs of the actual occupation of Monk-hall by human beings: in all other respects it looked so desolate, so time-worn, so like a mausoleum for old furniture, and crumbling tapestry, for high-backed mahogany chairs, gigantic bedsteads, and strange looking mirrors, veiled in the thick folds of the spider's web.

And like bees in a deserted hive
Dead words smell bad.

A falling-down wreck on the edge of town, curtains permanently drawn, that would turn out to have been home to some ancient recluse who'd been surviving on ramen and toenail clippings since time immemorial, though no one realizes it until a property appraiser or an overly ambitious census taker barges in to find the poor soul returning to dust in a La-Z-Boy. People get too old to care for a place, their family writes them off for one reason or another—it's sad, but it happens.

Architecturally, the town looked like the worst of all possible cheap-and-sleazy tract developments, but the psychic texture it projected was even more depressing, more like that of one of those ghastly retirement communities, one of the innumerable Leisure Worlds or Sun Manors, those childless joyless retreats where colonies of that other kind of living dead collected to await the last trumpet.

A collection of bad love songs, tattered from overuse, has to touch us like a cemetery or a village. So what if the houses have no style, if the graves are vanishing under tasteless ornaments and inscriptions? Before an imagination sympathetic and respectful enough to conceal momentarily its aesthetic disdain, that dust may release a flock of souls, their beaks holding the still verdant dreams that gave them an inkling of the next world and let them rejoice or weep in this world.

I am a collection of the obsolete, a relic of the damned, of the lost and strayed. I am the waylaid pieces of history which sank out of sight in all of our pasts. Such an accumulation of riffraff has never before been imagined.

Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you'll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry – Great monolithic knees the former town Long since gave up pretense of keeping covered. And there's a story in a book about it...

I grew up in a shadowy world where death was all around, but it was secret — disappearances have all the direct cruelty of sadism, as well as a particular aura of the sinister unknown.

The dust that fell unnoted as a dew,
Wrapped the dead city's face like mummy-cloth