These are faithful keepers of our memories. They will suffer no contradiction. Their testimony does not bend. The traditional photo album has ever more intrigued me with the passing of time. Especially when those strong twinges of reminiscence stir in the heart—not unlike a favourite song or a familiar aroma. There is a discernible integrity to photos. Photographs which have aged and yellowed as we ourselves have become older. They are witnesses to some of the most precious moments in our lives. Here are found the traces of our biography and the roots which speak to the unravelling of that story. I am not idealizing the experience of leafing through the pages of our photographic collections—and yet this is precisely my point. In those pages with the plastic slides where we have slipped our treasures the memories rekindled are not always happy ones. There are photos of our dearly loved people who are no longer with us and on whom our eyes pause to linger a little longer. Could I have not been a better son to my father—or for that matter, a better father to my own children? In other places those cherished photographs of friends held tightly in our embrace who now are no longer in our lives. Was not this friendship meant for life—what did those beautiful smiles mean? We are forced to redefine previously held certainties. Still, and somehow, we might still resist to admit to these changes. In Aleksandar Hemon’s The Lazarus Project (2008) there is a perfect line: “When I look at my old pictures, all I can see is what I used to be but am no longer. I think: What I can see is what I am not.” These moments in time as they were captured in our photos is one of the best examples of that brilliantly encapsulating term popular with the eastern orthodox monastics when they reflect on life, “joyful-sorrow”. Each of these photos reawaken joy or sorrow in their own unmistakable way. I am not here speaking of photographs which have been photoshopped to present us in our idealized form or which can be speedily deleted. Susan Sontag has written of "image-junkies" in her On Photography (1977) a telling term we can nowadays appropriate to describe our obsession with the selfie. In the olden days of Kodak for the everyday user there was no manipulation of reality—and if you desired to destroy a picture to begin with you would have to locate it amongst the many others to hold it first in your hands. There was a moment where you might reconsider. And that one last look could make all the difference before you made the decision to physically tear the memory apart. You had to materially partake. Nowadays, we can delete in bundles to literally send to the trash bin, not having to ponder on the implications of our action. But that act in itself is no small deception, for our memories like old scars cannot so easily be wiped out or written over—and paper cuts can make you bleed. The old photo album, open it with the judgement of charity. In The House at Riverton (2006) Kate Morton’s words speak with a brutal yet compassionate reality: “Photographs force us to see people before their future weighed them down.” Whatever the lessons of this faithful keeper of our memories, it is our truthful friend and bigger than any novel.

Postscript: The two photographs are of our beloved Momma, Eleni Michael, née Fotineas. The first is from her late teens, the second and now struggling in those dreadful fogs of dementia, was captured recently by my own daughter, her namesake, Eleni Keziah M.

M.G. Michael Family Archives: Helen Michael

Journal