Broken Clocks Quotes

Even a broken clock is right twice a day.

I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong. I will love you as a battlefield loves young men and as peppermints love your allergies, and I will love you as the banana peel loves the shoe of a man who was just struck by a shingle falling off a house. I will love you as a volunteer fire department loves rushing into burning buildings and as burning buildings love to chase them back out, and as a parachute loves to leave a blimp and as a blimp operator loves to chase after it. I will love you as a dagger loves a certain person’s back, and as a certain person loves to wear dagger proof tunics, and as a dagger proof tunic loves to go to a certain dry cleaning facility, and how a certain employee of a dry cleaning facility loves to stay up late with a pair of binoculars, watching a dagger factory for hours in the hopes of catching a burglar, and as a burglar loves sneaking up behind people with binoculars, suddenly realizing that she has left her dagger at home. I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguised and until every home is rebuilt from the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where we once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from slim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and now matter how I am discovered after what happens to me as I am discovering this.

A broken clock is right two times a day.

Occasionally, very occasionally, say at four o’clock in the afternoon on a wet Sunday, she feels panic-stricken and almost breathless with loneliness. Once or twice she has been known to pick up the phone to check that it isn’t broken. Sometimes she thinks how nice it would be to be woken by a call in the night: ‘get in a taxi now’ or ‘I need to see you, we need to talk’. But at the best of times she feels like a character in a Muriel Spark novel – independent, bookish, sharp-minded, secretly romantic.

Even a broken clock shows the correct time twice a day.

It hurts my head to think of how many things had to happen for our paths to intersect. Of all those numberless little fortunes that led me to you. A broken alarm clock, a delayed train, a sudden downpour, and there we were. You and I, sharing coffee, our whole lives ahead of us.

Nothing is completely wrong, even a broken clock is right twice a day.

Whenever I appeared to have won an argument, Mom would say something like, 'Even broken clocks are right twice a day.

I love you crookedly because my heart's been unhinged from birth. The doctors gave me strict instructions not to fall in love: my fragile clockwork heart would never survive. But when you gave me a dose of love so powerful - far beyond my wildest dreams - that I felt able to confront anything for you, I decided to put my life in your hands.

Even a broken clock is right twice every day.

Good morning, Hell-A. In the land of the lotus-eaters, time plays tricks on you. One day you’re dreaming, the next, your dream has become your reality. It was the best of times. If only someone had told me. Mistakes were made, hearts were broken, harsh lessons learned. My family goes on without me, while I drown in a sea of pointless pussy. I don’t know how I got here. But here I am, rotting away in the warm California sun. There are things I need to figure out, for her sake, at least. The clock is ticking. The gap is widening. She won’t always love me “no matter what

Did you ever notice that all machines are made for some reason?" he asked Isabelle. "They are built to make you laugh, like the mouse here, or to tell the time, like clocks, or to fill you with wonder like the automaton. Maybe that's why a broken machine always makes me a little sad, because it isn't able to do what it was made to do." Isabelle picked up the mouse, wound it again, and set it down. "Maybe it's the same with people," Hugo continued. "If you lose your purpose...it's like you're broken.

we left about midnight and walked down the hill in silence. the night was muggy, and all around me i felt the same pressure, a sense of time rushing by while it seemed to be standing still. whenever i thought of time in puerto rico, i was reminded of those old magnetic clocks that hung on the walls of my classrooms in high school. every now and then a hand would not move for several minutes -- and if i watched it long enough, wondering if it had finally broken down, the sudden click of the hand jumping three for four notches would startle me when it came.

And yet.. even if you had been right, it would only have been by accident. A broken clock is right two times a day.

A broken clock that, because its metal heart continued to beat, was now breaking the time of everything else.

Even a broken clock is right twice a day. It was bound to happen eventually.

This morning I woke up before the alarm clock went off and the sky outside was a big red ocean. You're beautiful when you're sleeping so I spent an hour observing the way you breathe. Inhale, exhale, without a thought of tomorrow. The window was open and the air was so crisp and I couldn't imagine how to ever ask for more than this.

I was in bad shape, definitively broken. A broken clock that, because its metal heart continued to beat, was now breaking the time of everything else.

When the day's mistakes are too much to bear, when everything feels like devastation beyond repair, remind yourself: how mystical it is that every day, the clocks reset to 00:00 the reason they say midnight is the witching hour, is because a new day rises from the ashes of the old, embers breathe new life to its fire, giving us a chance to mend, a chance to restore, all that is broken and what you thought was lost.

When it came time to die, we knew and went to deep yards where we lay down and our bones turned to brass. We were picked over. We were used to fix broken clocks, music boxes; our pelvises were fitted onto pinions, our spines soldered into cast works. Our ribs were fitted as gear teeth and tapped and clicked like tusks. This is how, finally, we were joined.

I count everything. Even numbers, odd numbers, multiples of 10. I count the ticks of the clock i count the tocks of the clock I count the lines between the lines on a sheet of paper. I count the broken beats of my heart I count my pulse and my blinks and the number of tries it takes to inhale enough oxygen for my lungs. I stay like this I stand like this I count like this until the feeling stops. Until the tears stop spilling, until my fists stop shaking, until my heart stops aching. There are never enough numbers.

And the world goes on regardless of joy or despair or one woman's fortune or one man's loss. And we can't know the lives of others. And we can't know our own lives beyond the details we can manage. And the things that change us forever happen without us knowing they would happen. And the moment that looks like the rest is the one where hearts are broken or healed. And time that runs so steady and sure runs wild outside the clocks. It takes so little time to change a lifetime and it takes a lifetime to understand the change.

Mr. Normal stepped forward and offered him a Scotch bottle. "You look like you could use some." Yeah, you think? Butch took a swig. "Thanks." "So can we kill him now?" said the one with the goatee and the baseball hat. Beth's man spoke harshly. "Back off, V." "Why? He's just a human." "And my shellan is half-human. The man doesn't die just because he's not one of us." "Jesus, you've changed your tune." "So you need to catch up, brother." Butch got to his feet. If his death was going to be debated, he wanted in on the discussion. "I appreciate the support," he said to Beth's boy. "But I don't need it." He went over to the guy with the hat, discreetly switching his grip on the bottle's neck in case he had to crack the damn thing over a head. He moved in tight, so their noses were almost touching. He could feel the vampire heating up, priming for a fight. "I'm happy to take you on, asshole," Butch said. "I'll probably end up losing, but I fight dirty, so I'll make you hurt while you kill me." Then he eyed the guy's hat. "Though I hate clocking the shit out of another Red Sox fan." There was a shout of laughter from behind him. Someone said, "This is gonna be fun to watch." The guy in front of Butch narrowed his eyes into slits. "You true about the Sox?" "Born and raised in Southie. Haven't stopped grinning since '04." There was a long pause. The vampire snorted. "I don't like humans." "Yeah, well, I'm not too crazy about you bloodsuckers." Another stretch of silence. The guy stroked his goatee. "What do you call twenty guys watching the World Series?" "The New York Yankees," Butch replied. The vampire laughed in a loud burst, whipped the baseball cap off his head, and slapped it on his thigh. Just like that, the tension was broken.

She ran because she had no other choice. She feared what would happen if she dared to stop. There was no time to think. There was barely any time for her to breathe. On her broken ankle, she ran. With her bruised arms, she ran. With her bleeding sides, she ran because she knew today was the day she was meant to die.

The winter evening settles down With smell of steaks in passageways. Six o'clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots; The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. And then the lighting of the lamps.

Even a broken clock is right twice a day.

Did you ever notice that all machines are made for some reason? … They are built to make you laugh, like the mouse here, or to tell the time, like clocks, or to fill you with wonder like the automaton. Maybe that's why a broken machine always makes me a little sad, because it isn't able to do what it was meant to do. … Maybe it's the same with people: if you lose your purpose, it's like you're broken.

On May 26th, 2003, Aaron Ralston was hiking, a boulder fell on his right hand, he waited four days, he then amputated his own arm with a pocketknife. On New Year’s Eve, a woman was bungee jumping, the cord broke, she fell into a river and had to swim back to land in crocodile-infested waters with a broken collarbone. Claire Champlin was smashed in the face by a five-pound watermelon being propelled by a slingshot. Mathew Brobst was hit by a javelin. David Striegl was actually punched in the mouth by a kangaroo. The most amazing part of these stories is when asked about the experience they all smiled, shrugged and said “I guess things could’ve been worse.” So go ahead, tell me you’re having a bad day. Tell me about the traffic. Tell me about your boss. Tell me about the job you’ve been trying to quit for the past four years. Tell me the morning is just a townhouse burning to the ground and the snooze button is a fire extinguisher. Tell me the alarm clock stole the keys to your smile, drove it into 7 am and the crash totaled your happiness. Tell me. Tell me how blessed are we to have tragedy so small it can fit on the tips of our tongues. When Evan lost his legs he was speechless. When my cousin was assaulted she didn’t speak for 48 hours. When my uncle was murdered, we had to send out a search party to find my father’s voice. Most people have no idea that tragedy and silence often have the exact same address. When your day is a museum of disappointments, hanging from events that were outside of your control, when you feel like your guardian angel put in his two weeks notice two months ago and just decided not to tell you, when it seems like God is just a babysitter that’s always on the phone, when you get punched in the esophagus by a fistful of life. Remember, every year two million people die of dehydration. So it doesn’t matter if the glass is half full or half empty. There’s water in the cup. Drink it and stop complaining. Muscle is created by lifting things that are designed to weigh us down. When your shoulders are heavy stand up straight and call it exercise. Life is a gym membership with a really complicated cancellation policy. Remember, you will survive, things could be worse, and we are never given anything we can’t handle. When the whole world crumbles, you have to build a new one out of all the pieces that are still here. Remember, you are still here. The human heart beats approximately 4,000 times per hour and each pulse, each throb, each palpitation is a trophy, engraved with the words “You are still alive.” You are still alive. So act like it.

Time can play all sorts of tricks on you. In the blink of an eye, babies appear in carriages, coffins disappear into the ground, wars are won and lost, and children transform, like butterflies, into adults. That's what happened to me. Once upon a time, I was a boy named Hugo Cabret, and I desperately believed that a broken automaton would save my life. Now that my cocoon has fallen away and I have emerged as a magician named Professor Alcofrisbas, I can look back and see that I was right. The automaton my father discovered did save me. But now I have built a new automaton. I spent countless hours designing it. I made every gear myself, carefully cut every brass disk, and fashioned every bt of machinery with my own hands. When you wind it up, it can do something I'm sure no other automaton in the world can do. It can tel you the incredible story of Georges Melies, his wife, their goddaughter, and a beloved clock maker whose son grew up to be a magician. The complicated machinery inside my automaton can produce one-hundred and fifty-eight different pictures, and it can wrote, letter, by letter, an entire book, twenty-six thousand one hundred and fifty-nine words. These words. THE END

It was like a blackout in reverse. Since around nine o’clock, no lamps could be switched off, no electrical appliances powered down. If you tried to pull out the plug there was an alarming crackling sound and sparks flew between the outlet and the plug, preventing the circuit from being broken.

There are some people who think love is sex and marriage and six o’clock-kisses and children, and perhaps it is, Miss Lester. But do you know what I think? I think love is a touch and yet not a touch.

I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguished and until every home is rebuilt form the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love you until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from skim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and no matter how I am discovered after what happens to me happens to me as I am discovering this. I will love you if you don’t marry me. I will love you if you marry someone else – your co-star, perhaps, or Y., or even O., or anyone Z. through A., even R. although sadly I believe it will be quite some time before two women can be allowed to marry – and I will love you if you have a child, and I will love you if you have two children, or three children, or even more, although I personally think three is plenty, and I will love you if you never marry at all, and never have children, and spend your years wishing you had married me after all, and I must say that on late, cold nights I prefer this scenario out of all the scenarios I have mentioned. That, Beatrice, is how I will love you even as the world goes on its wicked way.

I'm saying it isn't a matter of stoping the clock, but of making it run backward. And for that, the clock will need to be broken.

The hands of every clock never stop signing this: the best use of your hands is always love. The best way to say you love is always time. The best time to love is always now.

I took ten days off and by 11 o’clock on the first morning I had drunk fourteen cups of coffee, read all the newspapers and the Guardian and then… and then what? By lunchtime I was so bored that I decided to hang a few pictures. So I found a hammer, and later a man came to replaster the bits of wall I had demolished. Then I tried to fix the electric gates, which work only when there’s an omega in the month. So I went down the drive with a spanner, and later another man came to put them back together again. I was just about to start on the Aga, which had broken down on Christmas Eve, as they do, when my wife took me on one side by my earlobe and explained that builders do not, on the whole, spend their spare time writing, so writers should not build on their days off. It’s expensive and it can be dangerous, she said.

A lot of things in the house were broken or forgotten: the kitchen clock stopped, a closet doorknob coming off in my hand. The sparkly mess of flies I'd swept from the corners. It took sustained, constant living to ward off decay.

Did you ever notice that all machines are made for some reason?' He asked Isabelle. 'They are built to make to make you laugh, like the mouse here, or to tell the time, like clocks, or to fill you with wonder, like the automaton. Maybe that's why a broken machine always makes me a little sad, because it isn't able to do what it was meant to do.

nothing is greater than the anger held in the confines of a broken heart

We are like clocks! Always ticking to the tocks. When the pieces of our soul are torn away or broken – we can’t be sent to the mending shop, however.

Sir, you are punctual, and I cannot complain that you have broken your promise; but oh, how the time has dragged, and how long it has seemed before the clock struck six!

There’s a saying that timing is everything, but my life’s clock must be broken.

Even a clock that's broken is right twice a day.

Even a broken clock is right twice a day. The challenge lies in being consistently correct.

Even a North American defense lawyer is right sometimes,” Aguilar says. “Like a broken clock, twice a day.

Twice a day I change the time on my broken clock, my contrarian streak forcing me to ensure that it's never right.

it's anywhere in the broken clock

Bold prayers honor God, and God honors bold prayers. God isn’t offended by your biggest dreams or boldest prayers. He is offended by anything less. If your prayers aren’t impossible to you, they are insulting to God. Prayers are prophecies. They are the best predictors of your spiritual future. Who you become is determined by how you pray. Ultimately, the transcript of your prayers becomes the script of your life. The greatest tragedy in life is the prayers that go unanswered because they go unasked. God does not answer vague prayers. The more specific your prayers are, the more glory God receives. Most of us don’t get what we want because we quit praying. We give up too easily. We give up too soon. We quit praying right before the miracle happens. If you don’t take the risk, you forfeit the miracle. Take a step of faith when God gives you a vision because you trust that the One who gave you the vision is going to make provision. And for the record, if the vision is from God, it will most definitely be beyond your means. We shouldn’t seek answers as much as we should seek God. If you seek answers you won’t find them, but if you seek God, the answers will find you. If your plans aren’t birthed in prayer and bathed in prayer, they won’t succeed. Are your problems bigger than God, or is God bigger than your problems? Our biggest problem is our small view of God. That is the cause of all lesser evils. And it’s a high view of God that is the solution to all other problems. Because you know He can, you can pray with holy confidence. Persistence is the magic bullet. The only way you can fail is if you stop praying. 100 percent of the prayers I don’t pray won’t get answered. Where are you most proficient, most sufficient? Maybe that is precisely where God wants you to trust Him to do something beyond your ability. What we perceive as unanswered prayers are often the greatest answers. Our heavenly Father is far too wise and loves us far too much to give us everything we ask for. Someday we’ll thank God for the prayers He didn’t answer as much or more than the ones He did. You can’t pray for open doors if you aren’t willing accept closed doors, because one leads to the other. Just as our greatest successes often come on the heels of our greatest failures, our greatest answers often come on the heels of our longest and most boring prayers. The biggest difference between success and failure, both spiritually and occupationally, is your waking-up time on your alarm clock. We won’t remember the things that came easy; we’ll remember the things that came hard. It’s not just where you end up that’s important; it’s how you get there. Goal setting begins and ends with prayer. The more you have to circle something in prayer, the more satisfying it is spiritually. And, often, the more glory God gets. I don’t want easy answers or quick answers because I have a tendency to mishandle the blessings that come too easily or too quickly. I take the credit or take them for granted. So now I pray that it will take long enough and be hard enough for God to receive all of the glory. Change your prayer approach from as soon as possible to as long as it takes. Go home. Lock yourself in your room. Kneel down in the middle of the floor, and with a piece of chalk draw a circle around yourself. There, on your knees, pray fervently and brokenly that God would start a revival within that chalk circle.

That clock’s a lot like the town, she decided. Looks good, sounds great, pretends to be some sort of masterpiece. But it’s broken. It’s rotten and broken right down inside where its heart’s cogs meet. That’s Toll.

The captive had broken off the stalagmite, and upon the stump had placed a stone, wherein he had scooped a shallow hollow to catch the precious drop that fell once in every three minutes with the dreary regularity of a clock- tick--a dessertspoonful once in four and twenty hours. That drop was falling when the Pyramids were new; when Troy fell; when the foundations of Rome were laid when Christ was crucified; when the Conqueror created the British empire; when Columbus sailed; when the massacre at Lexington was "news." It is falling now; it will still be falling when all these things shall have sunk down the afternoon of history, and the twilight of tradition, and been swallowed up in the thick night of oblivion. Has everything a purpose and a mission? Did this drop fall patiently during five thousand years to be ready for this flitting human insect's need?

Did you ever realize that all machines are made for some reason?’ He asked Isabelle. ‘They are built to make you laugh, like the mouse here, or to tell the time, like clocks, or to fill you with wonder, like the automaton. Maybe that’s why a broken machine always makes me a little sad, because it isn’t able to do what it was mean to do…Maybe it’s the same with people,’ Hugo continued. ‘If you lose your purpose…it’s like you’re broken.

Charity knew that she had to be up early in the morning. And she knew that a weepy, silly, ridiculously old-fashioned love story was not the thing to watch with a broken heart. Nevertheless, she watched. And wept. And was still smiling when she fell asleep at three o'clock in the morning, with the remote in her hand and the telly still going.

Sounds of four o’clock in the morning come to him through the window: the swish of a sprinkler on the lawn, broken cries of alarm from a parked car that can no longer bear its loneliness, the low weeping of a man in the next-door apartment, on the other side of the wall, the shriek of a nightbird nearby that can perhaps already see what is hidden from you and me.

He pulled my skirt up. I began to worry. Everyone knew he had broken in girls before and I didn't want it to happen to me. I said, 'No. Get off, please.' He pulled me down the alley and pushed me to the ground. As I lay on my back worrying about my new blue coat, he pushed his fingers up between my legs — and rammed himself into me. I was crying. His lips were pressed against mine but I was motionless, like a small corpse. He grunted and I knew it was over. He got up, I just lay there on the ground, my tights round my ankles. The clock was striking twelve. As he walked away, he turned and said, 'I've always wanted to do it to you. I like your mouth'. When I got in, my mum said, 'Tracey, what's wrong with you?' I showed her my coat, the dirt and the stains, and told her 'I'm not a virgin any more.' She didn't call the police or make any fuss. She just washed my coat and everything carried on as normal, as though nothing had happened. But for me, my childhood was over, I had become conscious of my physicality, aware of my presence and open to the ugly truths of the world. At the age of thirteen, I realised that there was a danger in innocence and beauty, and I could not live with both. (describing childhood rape)

Maybe he was broken. Like a clock that always stops when it shouldn't, or a cracked teacup that spills anything poured inside. Something was broken inside him, causing his gears to work incorrectly, and that's why he could never seem to do anything right. Useless. Garbage, to be thrown away.

For half an hour they poked about in a happy dusty dream, through the junk and broken furniture and ornaments. It was like reading the story of somebody’s life, Jane thought, as she gazed at the tiny matchstick masts of the ship sailing motionless forever in the green glass bottle. All these things had been used once, had been part of every day in the house below. Someone has slept on the bed, anxiously watched the minutes on the clock, pounced joyfully on each magazine as it arrived. But those people were long dead, or gone away, and now the oddments of their lives were piled up here, forgotten. She found herself feeling rather sad.

Girls with clock hearts aren’t made for falling in love.

The party had long ago broken up. The clock struck half-past twelve. There was left in the room only the master of the house and Sergei Nikolaevitch and Vladimir Petrovitch.

Heroes are not born or created. They become so in the passing moments of life. When something or someone demands you be more than you have been, when you must put aside your own needs and what is best for you to fight for another, no matter the cost. The past, the day-to-day living becomes irrelevant. All that matters is that instant when the ticking of the clock is louder than an ocean’s wave hitting the rocks, when time does not stand still, but slows, every second longer than the last one. This is when the decision becomes the only thing you can hear and see. When the choice falls out of your hand and fate intervenes. When your life is no longer yours but conjoined with another’s, each dependent upon the other to survive and thrive.

An Israeli study of parole board decisions in 2011 showed that a prisoner’s chances of release receded to near zero as the clock ticked towards lunchtime, immediately after which the likelihood soared.

It’s so overwhelming when you notice how the clock ticks; so many tiny pieces holding each other together just so it keeps going. We are like clocks, too! Always ticking to the tocks. When the pieces of our soul are torn away or broken – we can’t be sent to the mending shop, however. So how do we get better? Workable? Thoughts can be tiring, at times. Or maybe it’s the same time – who knows? The clock is broken. Meh.

And the feeling, it gets left behind All the innocence lost at one time Significant, behind the eyes There's no need to hide... We're safe tonight The ocean is full 'cause everyone's crying The full moon is looking for friends at high tide The sorrow grows bigger when the sorrow's denied I only know my mind I am mine And the meaning, it gets left behind All the innocents lost at one time Significant, behind the eyes There's no need to hide... We're safe tonight And the feelings that get left behind All the innocents broken with lies Significance, between the lines (We may need to hide) And the meanings that get left behind All the innocents lost at one time We're all different behind the eyes There's no need to hide The selfish, they're all standing in line Faithing and hoping to buy themselves time Me, I figure as each breath goes by I only own my mind The North is to South what the clock is to time There's east and there's west and there's everywhere life I know I was born and I know that I'll die The in between is mine I am mine

Turn back time to half-past innocence. But that clock’s lying on its side, hour hand spinning wildly, in a dirty Dublin alley near a gold makeup pouch half concealed by trash, and an address carved in stone by a dying woman. Broken.

Now the evening's at its noon, its meridian. The outgoing tide has simmered down, and there's a lull-like the calm in the eye of a hurricane - before the reverse tide starts to set in. The last acts of the three-act plays are now on, and the after-theater eating places are beginning to fill up with early comers; Danny's and Lindy's - yes, and Horn & Hardart too. Everybody has got where they wanted to go - and that was out somewhere. Now everybody will want to get back where they came from - and that's home somewhere. Or as the coffee-grinder radio, always on the beam, put it at about this point: 'New York, New York, it's a helluva town, The Bronx is up, the Battery's down, And the people ride around in a hole in the ground. Now the incoming tide rolls in; the hours abruptly switch back to single digits again, and it's a little like the time you put your watch back on entering a different time zone. Now the buses knock off and the subway expresses turn into locals and the locals space themselves far apart; and as Johnny Carson's face hits millions of screens all at one and the same time, the incoming tide reaches its crest and pounds against the shore. There's a sudden splurge, a slew of taxis arriving at the hotel entrance one by one as regularly as though they were on a conveyor belt, emptying out and then going away again. Then this too dies down, and a deep still sets in. It's an around-the-clock town, but this is the stretch; from now until the garbage-grinding trucks come along and tear the dawn to shreds, it gets as quiet as it's ever going to get. This is the deep of the night, the dregs, the sediment at the bottom of the coffee cup. The blue hours; when guys' nerves get tauter and women's fears get greater. Now guys and girls make love, or kill each other or sometimes both. And as the windows on the 'Late Show' title silhouette light up one by one, the real ones all around go dark. And from now on the silence is broken only by the occasional forlorn hoot of a bogged-down drunk or the gutted-cat squeal of a too sharply swerved axle coming around a turn. Or as Billy Daniels sang it in Golden Boy: While the city sleeps, And the streets are clear, There's a life that's happening here. ("New York Blues")

Before I came to you,” he said, “you came to me.” Sarah studied his face. “You don’t really fix clocks, do you?” “I prefer them broken.” “Why is that?” Victor said. Dor looked at the grain of sand in his fingers. “Because I am the sinner who created them.

Her broken sentences hung in midair like the pendulums of several clocks, each ticking along at a different speed, each following its own logic and reaching its own conclusions, each rising up at a different moment, each hammering its bell at a different time....

Dear New Orleans, What a big, beautiful mess you are. A giant flashing yellow light—proceed with caution, but proceed. Not overly ambitious, you have a strong identity, and don’t look outside yourself for intrigue, evolution, or monikers of progress. Proud of who you are, you know your flavor, it’s your very own, and if people want to come taste it, you welcome them without solicitation. Your hours trickle by, Tuesdays and Saturdays more similar than anywhere else. Your seasons slide into one another. You’re the Big Easy…home of the shortest hangover on the planet, where a libation greets you on a Monday morning with the same smile as it did on Saturday night. Home of the front porch, not the back. This engineering feat provides so much of your sense of community and fellowship as you relax facing the street and your neighbors across it. Rather than retreating into the seclusion of the backyard, you engage with the goings-on of the world around you, on your front porch. Private properties hospitably trespass on each other and lend across borders where a 9:00 A.M. alarm clock is church bells, sirens, and a slow-moving eight-buck-an-hour carpenter nailing a windowpane two doors down. You don’t sweat details or misdemeanors, and since everybody’s getting away with something anyway, the rest just wanna be on the winning side. And if you can swing the swindle, good for you, because you love to gamble and rules are made to be broken, so don’t preach about them, abide. Peddlin worship and litigation, where else do the dead rest eye to eye with the livin? You’re a right-brain city. Don’t show up wearing your morals on your sleeve ’less you wanna get your arm burned. The humidity suppresses most reason so if you’re crossing a one-way street, it’s best to look both ways. Mother Nature rules, the natural law capital “Q” Queen reigns supreme, a science to the animals, an overbearing and inconsiderate bitch to us bipeds. But you forgive her, and quickly, cus you know any disdain with her wrath will reap more: bad luck, voodoo, karma. So you roll with it, meander rather, slowly forward, takin it all in stride, never sweating the details. Your art is in your overgrowth. Mother Nature wears the crown around here, her royalty rules, and unlike in England, she has both influence and power. You don’t use vacuum cleaners, no, you use brooms and rakes to manicure. Where it falls is where it lays, the swerve around the pothole, the duck beneath the branch, the poverty and the murder rate, all of it, just how it is and how it turned out. Like a gumbo, your medley’s in the mix. —June 7, 2013, New Orleans, La.

So now I lye by Day and toss or rave by Night, since the ratling and perpetual Hum of the Town deny me rest: just as Madness and Phrensy are the vapours which rise from the lower Faculties, so the Chaos of the Streets reaches up even to the very Closet here and I am whirl'd about by cries of Knives to Grind and Here are your Mouse-Traps. I was last night about to enter the Shaddowe of Rest when a Watch-man, half-drunken, thumps at the Door with his Past Three-a-clock and his Rainy Wet Morning. And when at length I slipp'd into Sleep I had no sooner forgot my present Distemper than I was plunged into a worse: I dreamd my self to be lying in a small place under ground, like unto a Grave, and my Body was all broken while others sung. And there was a Face that did so terrifie me that I had like to have expired in my Dream. Well, I will say no more.

On Growing Old Be with me, Beauty, for the fire is dying; My dog and I are old, too old for roving. Man, whose young passion sets the spindrift flying, Is soon too lame to march, too cold for loving. I take the book and gather to the fire, Turning old yellow leaves; minute by minute The clock ticks to my heart. A withered wire, Moves a thin ghost of music in the spinet. I cannot sail your seas, I cannot wander Your cornland, nor your hill-land, nor your valleys Ever again, nor share the battle yonder Where the young knight the broken squadron rallies. Only stay quiet while my mind remembers The beauty of fire from the beauty of embers. Beauty, have pity! for the strong have power, The rich their wealth, the beautiful their grace, Summer of man its sunlight and its flower. Spring-time of man, all April in a face. Only, as in the jostling in the Strand, Where the mob thrusts, or loiters, or is loud, The beggar with the saucer in his hand Asks only a penny from the passing crowd, So, from this glittering world with all its fashion, Its fire, and play of men, its stir, its march, Let me have wisdom, Beauty, wisdom and passion, Bread to the soul, rain when the summers parch. Give me but these, and though the darkness close Even the night will blossom as the rose.

Stop waiting for someone to give you what you want. The universe is too busy to care. It has worlds to create and galaxies to destroy. If you're worried about death and about your own end, don't. It's coming whether you like it or not. You will either arrive at the end of your life in style or you will arrive broken and beaten, but whichever way you choose, have no doubt that you WILL ARRIVE. There is only now. If you have power, it's now. If you can change anything, you have to do it now. If you want to be or to have that next great thing, be it. Have it. Take it. Own it. Do it. Become it. Be awesome. Do epic shit. Do it now. The clock is ticking.

The most beautiful among us all seem to be slightly broken, women especially. The ones worth knowing are beyond repair. She’ll always be slightly off centered. A clock, never set perfectly, but you knew could still sing beautifully. And fools we are for attempting to fix her. Just read her, learn her, love her. Don’t try to make sense of her past, or dare predict her future. Who she was, is not who she is, and is certainly not who she would be. You’re not meant to understand her entirely. Because she’s not sure who she is exactly. Let her sing her song. Watch her dance wildly to it. It’s her time. Repairing that would only break her heart. And I’d rather be ripped apart from her than rip a part from her.

Intense sunlight rained down on a half-submerged city. Waves crashed between buildings that stood like waterlogged tombstones. Skyscrapers of smashed glass and twisted rusting metal jutted from the churning swell as islands of broken dreams. A familiar tower with a familiar clock face…Big Ben. London stared back at Blue. What was left of it. A sea-drowned cemetery for a time and a place long dead.

The squirrel leapt back to the tree, and ran down it, towards the roots, and then, in seconds, or minutes, or hours, Shadow could not tell which (all the clocks in his mind were broken, he thought, and their gears and cogs and springs were simply a jumble down there in the writhing grass), the squirrel returned with its walnut-shell cup, climbing carefully, and Shadow drank the water it brought to him.

Everything about the whimsical inn inspired curiosity instead of fear. In a third-floor bathing room, Evangeline found the most delightful copper tub, reminiscent of the clock in the hall. It had lovely jewelled handles and a faucet that could pout out different-coloured waters in a variety of scents: Pink honeysuckle. Lavender rose. Green pine needle. Silver rain. She'd mixed the rain and honeysuckle, and now she smelled like a sweet and stormy day.

Volubly, troublously, the late clock sounded, coming in on the wake of Big Ben, with its lap full of trifles. Beaten up, broken up by the assault of carriages, the brutality of vans, the eager advance of myriads of angular men, of flaunting women, the domes and spires of offices and hospitals, the last relics of this lap full of odds and ends seemed to break, like the spray of an exhausted wave, upon the body of Miss Kilman standing still in the street for a moment to mutter "It is the flesh.

It’s the middle of the night, but time keeps going on, and it also goes round and around, like the sun and the moon on the tall clock in the parlour. Soon it will be daybreak. Soon the day will break. I can’t stop it from breaking in the same way it always does, and then from lying there broken; always the same day, which comes around again like clockwork. It begins with the day before the day before, and then the day before, and then it’s the day itself. A Saturday. The breaking day. The day the butcher comes.

My love, whose fingers are matches, whose waist is encircled by the arms of the wind. My love, how the world sleeps in your throat, how your heart is filled with the scents of raspberries and grapes, to live inside you, to live inside the warm peach. Otherwise there is no way to stop despair from lurking all night in the shadows beside the old toll gate. Otherwise we will have to weep in another language. It was on a country road. It was in the wrong tense. How do we stop all our words from falling in love with gravity? Otherwise we will have to stop taking breaths from this moment on. From this moment on the abandoned clocks will observe us. My love, our hearts are growing full of broken wings, My love, to find our voice in a drop of water, in the tracks the starlight leaves behind. If only this were enough. If only we could get the attention of Time, standing in that doorway, peeling an apple. It hurts here. It hurts here. — Richard Jackson, from “The Italian Phrase Book,” Richard Jackson Greatest Hits: 1980-2004 (Pudding House Publications, 2004)

But on these evenings I used to dine earlier than the others, and to come in afterwards and sit at table until eight o’clock, when it was understood that I must go upstairs; that frail and precious kiss which Mamma used always to leave upon my lips when I was in bed and just going to sleep I had to take with me from the dining-room to my own, and to keep inviolate all the time that it took me to undress, without letting its sweet charm be broken, without letting its volatile essence diffuse itself and evaporate; and just on those very evenings when I must needs take most pains to receive it with due formality, I had to snatch it, to seize it instantly and in public, without even having the time or being properly free to apply to what I was doing the punctiliousness which madmen use who compel themselves to exclude all other thoughts from their minds while they are shutting a door, so that when the sickness of uncertainty sweeps over them again they can triumphantly face and overcome it with the recollection of the precise moment in which the door was shut.

Something dangerous is beginning: I am coming late to my own self. I made an appointment with my thoughts- the thoughts were snatched from me. I made an appointment with Faulkner- but they made me go to a banquet. I made an appointment with history, but a grass-widow dragged me into bed. Worse than barbed wire are birthday parties, mine and others', and roasted suckling pigs hold me like a sprig of parsley between their teeth! Led away for good to a life absolutely not my own, everything that I eat, eats me, everything that I drink, drinks me. I made an appointment with myself, but they invite me to feast on my own spareribs. I am garlanded from all sides not by strings of bagels, but by the holes of bagels, and I look like an anthology of zeros. Life gets broken into hundreds of lifelets, that exhaust and execute me. In order to get through to myself I had to smash my body against others', and my fragments, my smithereens, are trampled by the roaring crowd. I am trying to glue myself together, but my arms are still severed. I'd write with my left leg, but both the left and the right have run off, in different directions. I don't know- where is my body? And soul? Did it really fly off, without a murmured 'good-bye! '? How do I break through to a faraway namesake, waiting for me in the cold somewhere? I've forgotten under which clock I am waiting for myself. For those who don't know who they are, time does not exist. No one is under the clock. On the clock there is nothing. I am late for my appointment with me. There is no one. Nothing but cigarette butts. Only one flicker- A lonely, dying, spark...

Hear me out,” Marin said. “It’s smart to want to be safe. It’s a natural instinct. If we protect ourselves—our bodies, our minds, our hearts—we can avoid all these messy things. Being embarrassed. Making mistakes. Looking dumb. Getting our hearts broken. But there’s a huge price to pay for that safety. And usually that price is being alone or being stuck. Whether that’s stuck in a job or a relationship or in a place you don’t want to be. Everything has a price. For whatever reason, something in you wants to be safe. Girls in movies are safe.

when i left them, i painted myself burgundy and grey i stopped saying the words “please” and “i’m sorry” i walked into grocery stores and bought too many clementines, ordered too much Chinese, spent my last four dollars on over the counter sleeping pills that made my stomach bleed but my soul forget every time i wanted to tell you “i’m sorry”, i wrote you a poem instead, i said things like “i hope your mother calls you beautiful” to strangers and when boys with dry hands and broken eyes asked me on dates i didn’t hesitate no, didn’t even stop them when their hands grazed my breasts and when they moaned my name against my thighs i cried i opened the mail and didn’t tell anyone for a week that i got accepted into law school, i stopped watering the plants and filled the bathtub with roses and milk, when i got invited to parties, i wore blue jeans with white shirts, sat alone in some kitchen drinking hard liquor until some boys mouth made me feel like home i stopped answering the phone for a month, i didn’t like how my name tasted in his mouth but he was older and didn’t say things like “it doesn’t matter” and i think i went insane, my heart boiled blisters, i couldn’t understand why my bones felt like cages, i walked around art museums until closing, watched them lock up the gates and then open them up again the very same morning, i thought about clocks and how time was a deception of my fingertips, i had stars growing inside of me into constellations, and only when some man on the 9 AM bus asked me for the time did i realize that you cannot run from light igniting your lungs, you cannot run from yourself.

What, then, can Shakespearean tragedy, on this brief view, tell us about human time in an eternal world? It offers imagery of crisis, of futures equivocally offered, by prediction and by action, as actualities; as a confrontation of human time with other orders, and the disastrous attempt to impose limited designs upon the time of the world. What emerges from Hamlet is--after much futile, illusory action--the need of patience and readiness. The 'bloody period' of Othello is the end of a life ruined by unseasonable curiosity. The millennial ending of Macbeth, the broken apocalypse of Lear, are false endings, human periods in an eternal world. They are researches into death in an age too late for apocalypse, too critical for prophecy; an age more aware that its fictions are themselves models of the human design on the world. But it was still an age which felt the human need for ends consonant with the past, the kind of end Othello tries to achieve by his final speech; complete, concordant. As usual, Shakespeare allows him his tock; but he will not pretend that the clock does not go forward. The human perpetuity which Spenser set against our imagery of the end is represented here also by the kingly announcements of Malcolm, the election of Fortinbras, the bleak resolution of Edgar. In apocalypse there are two orders of time, and the earthly runs to a stop; the cry of woe to the inhabitants of the earth means the end of their time; henceforth 'time shall be no more.' In tragedy the cry of woe does not end succession; the great crises and ends of human life do not stop time. And if we want them to serve our needs as we stand in the middest we must give them patterns, understood relations as Macbeth calls them, that defy time. The concords of past, present, and future towards which the soul extends itself are out of time, and belong to the duration which was invented for angels when it seemed difficult to deny that the world in which men suffer their ends is dissonant in being eternal. To close that great gap we use fictions of complementarity. They may now be novels or philosophical poems, as they once were tragedies, and before that, angels. What the gap looked like in more modern times, and how more modern men have closed it, is the preoccupation of the second half of this series.

The humans. He found them beautiful, too. These people seemed to be attracted to him, too. They peered at him intently. They leaned in close enough for him to see the tears caught in their eyelashes or hear the intake of their breath. He was held in the palm of this hand. He was kissed chastely by those lips. This cheek leaned against him appreciatively. That heart beat against him. He was watched, he was embraced, he was carried, he was bartered, he was strung around necks and wrists, he was worn, he was put in drawers, he was hidden in boxes, he was dropped in growing pools of warm blood, he was gifted, he was stolen, he was wanted, he was wanted, he was wanted. Eventually, he understood that people weren’t seeing him. They were seeing the objects he was looking out of: sweetmetals. To them, he was the painting in a marble hall, the locket against a breastbone, the hound sculpture hugged by generations of children, the broken clock displayed on the mantel. He was the ring on the finger and he was the tool that carved it, but more than that, he was what was inside the sweetmetal, too; he was the love, he was the hate, he was the life, he was the death, he was everything that made a sweetmetal a sweetmetal.

I mean, I tried to change, I did, everybody tries to change, Michael. Not just the queerboys. You look in the mirror and all you see is what's wrong, I'm not _this_ enough or I'm not _that_ enough, and you spend your whole life trying to fix yourself, because you just want to be okay inside your head, you know? I know you know this, Michael, that's why you're here. You're looking for the fix. Yeah, that's why they call it a fix. Because you think you're broken. Only you're not--that broken feeling? That's normal. That's how you know you're normal. If you're not feeling it, you really are broken, that's the joke

Lucy Gray Oft I had heard of Lucy Gray, And when I cross'd the Wild, I chanc'd to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wild Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. "To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow." "That, Father! will I gladly do; 'Tis scarcely afternoon— The Minster-clock has just struck two, And yonder is the Moon." At this the Father rais'd his hook And snapp'd a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse, the powd'ry snow That rises up like smoke. The storm came on before its time, She wander'd up and down, And many a hill did Lucy climb But never reach'd the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlook'd the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turn'd, and cry'd "In Heaven we all shall meet!" When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They track'd the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they cross'd, The marks were still the same; They track'd them on, nor ever lost, And to the Bridge they came. They follow'd from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

Then the events leading up to her collapse came back to her in a flash. Her hands flew automatically to her belly and she was only partially reassured to feel the tight ball there. Was her baby okay? Was she herself okay? She blinked harder to bring the room more into focus. There was light shining through a crack in the bathroom door. A glance at the blinds told her that it was dark outside. Then her gaze fell on the chair beside her bed and she found Ryan staring at her, his gaze intense. She flinched away from the raw emotion shining in his blue eyes. “Hey,” he said quietly. “How are you feeling?” “Numb,” she answered before she could think better of it. “Kind of blank. My head doesn’t hurt anymore. Are my feet still swollen?” He carefully picked up the sheet and pushed it over her feet. “Maybe a little. Not as bad as they were. They’ve been giving you meds and they’re monitoring the baby.” “How is she?” Kelly asked, a knot of fear in her throat. “For now, she’s doing fine. Your blood pressure stabilized, but they might have to do a C-section if it goes back up or if the baby starts showing signs of distress.” Kelly closed her eyes and then suddenly Ryan was close to her, holding her, his lips pressed against her temple. “Don’t worry, love,” he murmured. “You’re supposed to stay calm. You’re getting the best possible care. I’ve made sure of it. They’re monitoring you round-the-clock. And the doctor said the baby has an excellent prognosis at thirty-four weeks’ gestation.” She sagged against the pillow and closed her eyes. Relief pulsed through her but she was so tired she couldn’t muster the energy to do anything more than lie there thanking God that her baby was okay. “I’m going to take care of you, Kell,” Ryan said softly against her temple. “You and our baby. Nothing will ever hurt you again. I swear it.” Tears burned her eyelids. She was emotionally and physically exhausted and didn’t have the strength to argue. Something inside her was broken and she had no idea how to fix it. She felt so…disconnected.

Sal and Henry return with a gust of warm garden air and I settle down to create miniature roses from sugarpaste using tiny ivory spatulas and crimpers. I will have no antique tester bed crowning my cake, only a posy of flowers: symbols of beauty and growth, each year new-blossoming. I let Henry paint the broken pieces with spinach juice, while I tint my flowers with cochineal and yellow gum. As a pretty device I paint a ladybird on a rose, and think it finer than Sèvres porcelain. At ten o'clock tomorrow, I will marry John Francis at St. Mark's Church, across the square. As Sal and I rehearse our plans for the day, pleasurable anticipation bubbles inside me like fizzing wine. We will return from church for this bride cake in the parlor, then take a simple wedding breakfast of hot buttered rolls, ham, cold chicken, and fruit, on the silver in the dining room. Nan has sent me a Yorkshire Game Pie, so crusted with wedding figures of wheatsheafs and blossoms it truly looks too good to eat. We have invited few guests, for I want no great show, and instead will have bread and beef sent to feed the poor. And at two o'clock, we will leave with Henry for a much anticipated holiday by the sea, at Sandhills, on the southern coast. John Francis has promised Henry he might try sea-bathing, while I have bought stocks of cerulean blue and burnt umber to attempt to catch the sea and sky in watercolor.

For a short time, for a month or two, he had striven to dine at home and even to remain at home through the evening; but the work had been too hard for him and he had utterly broken down. He had said to her and to himself that his health would fail him under the effects of so great a change made so late in life, and I am not sure that he had not spoken truly. At any rate the effort had been abandoned, and Mr Vavasor now never dined at home. Nor did he and his daughter ever dine out together. Their joint means did not admit of their giving dinners, and therefore they could not make their joint way in the same circle. It thus came to pass that they lived apart, — quite apart. They saw each other, probably daily; but they did little more than see each other. They did not even breakfast together, and after three o’clock in the day Mr Vavasor was never to be found in his own house.

Oft had I heard of Lucy Gray, And when I crossed the Wild, I chanced to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wide Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. 'To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow.' 'That, Father! will I gladly do; 'Tis scarcely afternoon -- The Minster-clock has just struck two, And yonder is the Moon.' At this the Father raised his hook And snapped a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse the powd'ry snow That rises up like smoke. The storm came on before its time, She wandered up and down, And many a hill did Lucy climb But never reached the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlooked the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turned, and cried 'In Heaven we all shall meet!' When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They tracked the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they crossed, The marks were still the same; They tracked them on, nor ever lost, And to the Bridge they came. They followed from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

if you're reading this, I'm probably gone by now. I used to reside in your heart, but I had to move out recently. between you and me, it became a little too expensive to live there. it cost me too much happiness, and it cost me so much peace, and these are things I never budgeted for when you asked me to move in. the warmth I felt in the air when I first move in slowly turned cold, and even though I attempted several times to repair the broken windows and fix the energy between us, sometimes situations should be left alone before common ground is found. we've waited and waited, staring at clocks and hoping time can replace everything we've lost, but the only thing I've found is that it's best for me to pack my belongings and go. sleeping in a cold heart every day and hoping that it will warm up is like playing a game of russian roulette with my happiness, and I'm not trying to take any chances. so I moved out and came back to myself, and I can safely say there's no place like home.

To this day when I inhale a light scent of Wrangler—its sweet sharpness—or the stronger, darker scent of Musk, I return to those hours and it ceases to be just cologne that I take in but the very scent of age, of youth at its most beautiful peak. It bears the memory of possibility, of unknown forests, unchartered territories, and a heart light and skipping, hell-bent as the captain of any of the three ships, determined at all costs to prevail to the new world. Turning back was no option. Whatever the gales, whatever the emaciation, whatever the casualty to self, onward I kept my course. My heart felt the magnetism of its own compass guiding me on—its direction constant and sure. There was no other way through. I feel it again as once it had been, before it was broken-in; its strength and resolute ardency. The years of solitude were nothing compared to what lay ahead. In sailing for the horizon that part of my life had been sealed up, a gentle eddy, a trough of gentle waves diminishing further, receding away. Whatever loneliness and pain went with the years between the ages of 14 and 20, was closed, irretrievable—I was already cast in form and direction in a certain course. When I open the little bottle of eau de toilette five hundred different days unfold within me, conversations so strained, breaking slowly, so painstakingly, to a comfortable place. A place so warm and inviting after the years of silence and introspect, of hiding. A place in the sun that would burn me alive before I let it cast a shadow on me. Until that time I had not known, I had not been conscious of my loneliness. Yes, I had been taciturn in school, alone, I had set myself apart when others tried to engage. But though I was alone, I had not felt the pangs of loneliness. It had not burdened or tormented as such when I first felt the clear tang of its opposite in the form of another’s company. Of Regn’s company. We came, each in our own way, in our own need—listening, wanting, tentatively, as though we came upon each other from the side in spite of having seen each other head on for two years. It was a gradual advance, much again like a vessel waiting for its sails to catch wind, grasping hold of the ropes and learning much too quickly, all at once, how to move in a certain direction. There was no practicing. It was everything and all—for the first and last time. Everything had to be right, whether it was or not. The waters were beautiful, the work harder than anything in my life, but the very glimpse of any tempest of defeat was never in my line of vision. I’d never failed at anything. And though this may sound quite an exaggeration, I tell you earnestly, it is true. Everything to this point I’d ever set my mind to, I’d achieved. But this wasn’t about conquering some land, nor had any of my other desires ever been about proving something. It just had to be—I could not break, could not turn or retract once I’d committed myself to my course. You cannot force a clock to run backwards when it is made to persevere always, and ever, forward. Had I not been so young I’d never have had the courage to love her.

He sat beside his brother and glanced at the notes. “The broken pew in the chapel has been repaired—you can cross that off the list. The keg of caviar arrived yesterday. It’s in the icehouse. I don’t know whether the extra camp chairs are here yet. I’ll ask Sims.” He paused to drink half his coffee in one swallow. “Where’s Kathleen? Still abed?” “Are you joking? She’s been awake for hours. At the moment she’s with the housekeeper, showing deliverymen where to set the flower arrangements.” A fond smile crossed Devon’s lips as he rolled the pencil against the tabletop with the flat of his hand. “You know my wife—every detail has to be perfect.” “It’s like staging a production at St. James’s Music Hall. Without, sadly, the chorus girls in pink tights.” West drained the rest of his coffee. “My God, will this day never end?” “It’s only six o’clock in the morning,” Devon pointed out. They both sighed. “I’ve never thanked you properly for marrying Kathleen at the registrar’s office,” West commented. “I want you to know how much I enjoyed it.” “You weren’t there.” “That’s why I enjoyed it.” Devon’s lips twitched. “I was glad not to have to wait,” he said. “But had there been more time, I wouldn’t have minded going through a more elaborate ceremony for Kathleen’s sake.” “Please. Shovel that manure in someone else’s direction.

Someone must be having a big party, Shyla thought as she turned into her neighborhood, the rhythmic salsa beat of Latin music was so loud. A car she didn't recognize was parked in the middle of her driveway. She had to drive over the grass in order to get around it. She pushed the automatic opener to raise the garage door. Another car was parked where she normally parked, and it wasn't Carl's. It belonged to Pilar. Leaving her car where it was, she got out and went into the house through the back door from the garage. Inside the house, the noise was almost deafening. Two young children were thrashing one another in the middle of the family room while some woman, presumably their mother, yelled at them in Spanish. The woman barely noticed Shyla. Shyla went into the living room and could hear other voices and laughter coming from her bedroom. There, she found a young woman going through her jewelry box, and someone else holding up one of her bras. When they saw Shyla, they stopped laughing. Pilar and another elderly woman were just coming down the stairs when Shyla went back into the living room. "Shyla, why are you home?" Pilar asked, then shrugged. Shyla could hardly hear her over the noise. "I live here," she said, too stunned to say anything else. She went back into the family room and turned off the compact disc player. There, on the floor, lay her great grandmother's china clock, broken.

A team of Mass-Observation researchers, experienced in chronicling the effects of air raids, had arrived on Friday afternoon. In their subsequent report they wrote of having found “more open signs of hysteria, terror, neurosis” than they had seen over the prior two months of chronicling air-raid effects. “The overwhelmingly dominant feeling on Friday was the feeling of utter helplessness.” (The italics were theirs.) The observers noted a widespread sense of dislocation and depression. “The dislocation is so total in the town that people feel that the town itself is killed.” In order to help stem the surge of rumors arising from the raid, the BBC invited Tom Harrisson, the twenty-nine-year-old director of Mass-Observation, to do a broadcast on Saturday night, at nine o’clock, during its prime Home Service news slot, to talk about what he had seen in the city. “The strangest sight of all,” Harrisson told his vast audience, “was the Cathedral. At each end the bare frames of the great windows still have a kind of beauty without their glass; but in between them is an incredible chaos of bricks, pillars, girders, memorial tablets.” He spoke of the absolute silence in the city on Friday night as he drove around it in his car, threading his way past bomb craters and mounds of broken glass. He slept in the car that night. “I think this is one of the weirdest experiences of my whole life,” he said, “driving in a lonely, silent desolation and drizzling rain in that great industrial town.

There was nothing I could do except homework. I cracked open Forsyth’s Basics of Cryptography, read until my eyes went bleary, then looked at my clock and saw it was only four thirty in the afternoon. Time really crawled when you were on lockdown. I struggled through another chapter, nodding off seventeen or eighteen times, then checked my clock again. It was still four thirty in the afternoon. Either time really crawled when you were on lockdown or my clock was broken. I checked my phone. In fact, it was eight thirty at night, which explained why I was so darn hungry. No one had come to get me for dinner. I wondered if this was part of my punishment or if the administration had simply forgotten about me. I’d now been at spy school long enough to guess it was the latter, which began to worry me. I could get through the night without food, but if someone didn’t remember I was in the Box by the next morning, things could get dicey. Still, it wasn’t worth panicking yet. Maybe this was merely a test to see how I handled pressure. If so, I’d show them I was a tough egg to crack. For the benefit of any cameras that might have been on me, I played it cool, as though I were really enjoying being on lockdown. I laid back on my cot and gave a contented sigh. “This is great,” I said to any concealed microphones. “All this time to myself. It’s like being on vacation.” Then I casually examined my clock to see if I could keep it from telling me that it was eternally four thirty in the afternoon.

speed in which he shifts nearly stops my heart. One moment I’m talking to him, the next a gigantic feline prowls over the long dining room table, batting plates aside and growling as he stalks toward me. Scooting my chair back, properly terrified, I quickly say, “Apparently I was wrong.” The lion still appears as if he’s going to attack. “A lion is impressive, yes, but what about an elephant?” I continue. “Can you change into a beast that large? Surely not.” With a loud crack and flying wood, the table collapses as the lion morphs into a creature so gigantic, there is scarcely room for him. Dishes, settings, and candelabras fly this way and that. The elephant holds a huge foot over me. “Are you impressed yet, Carabas?” “Quite,” I squeak and then clear my throat. “But, now that I think of it, it’s only natural that a large creature such as yourself can change into other large creatures. Not that difficult, really.” Slowly, the ogre-elephant lowers his foot, looking as if he’s about to gore me with his tusks. Standing, hoping to put a little distance between me and the beast, I add, “But to change into something tiny, something insignificant—now that would be a feat.” “Like what, Carabas?” the ogre glares at me with foreign eyes. “A rabbit? A grouse?” I shrug. “Certainly, but what about something as tiny as…a mouse? That would be quite impossible, would it not?” And just like that, the elephant is gone, vanished before my very eyes. I frantically look for him in the broken plates, splintered table, and mess of molten wax on the floor. Before I even spot the rodent the ogre shifted into, Puss leaps into the middle of the mess, pouncing with outstretched paws and a greedy look in his bright green eyes. A tiny gray tail disappears into the cat’s mouth, and that is my very last glimpse of the ogre. I stare at Puss with disbelief. The world slows, and the steady thrum of the grandfather clock in the corner is the only thing that tells me that time hasn’t actually stopped. “It

Because I have already had a long leave I get none on Sundays. So the last Sunday before I go back to the front my father and eldest sister come over to see me. All day we sit in the Soldiers’ Home. Where else could we go? We don’t want to stay in the camp. About midday we go for a stroll on the moors. The hours are a torture; we do not know what to talk about, so we speak of my mother’s illness. It is now definitely cancer, she is already in the hospital and will be operated on shortly. The doctors hope she will recover, but we have never heard of cancer being cured. ”Where is she then?” I ask. ”In the Luisa Hospital,” says my father. ”In which class?” ”Third. We must wait till we know what the operation costs. She wanted to be in the third herself. She said that then she would have some company. And besides it is cheaper.” ”So she is lying there with all those people. If only she could sleep properly.” My father nods. His face is broken and full of furrows. My mother has always been sickly; and though she has only gone to the hospital when she has been compelled to, it has cost a great deal of money, and my father’s life has been practically given up to it. ”If only I knew how much the operation costs,” says he. ”Have you not asked?” ”Not directly, I cannot do that–the surgeon might take it amiss and that would not do; he must operate on mother.” Yes, I think bitterly, that’s how it is with us, and with all poor people. They don’t dare ask the price, but worry themselves dreadfully beforehand about it; but the others, for whom it is not important, they settle the price first as a matter of course. And the doctor does not take it amiss from them. ”The dressings afterwards are so expensive,” says my father. ”Doesn’t the Invalid’s Fund pay anything toward it, then?” I ask. ”Mother has been ill too long.” ”Have you any money at all?” He shakes his head: ”No, but I can do some overtime.” I know. He will stand at his desk folding and pasting and cutting until twelve o’clock at night. At eight o’clock in the evening he will eat some miserable rubbish they get in exchange for their food tickets, then he will take a powder for his headache and work on.

I continued my explorations in a cobbled yard overlooked by broken doors and cracked windows. Pushing open a swollen door into a storeroom, I found a stream running across paving stones and a carpet of slippery green moss. My explorations took me beneath a gateway surmounted by a clock face, standing with hands fixed permanently at eleven o'clock. Beyond stood derelict stables; then the park opened up in an undulating vista, reaching all the way to a swathe of deep forest on the horizon. In the distance was the twinkle of the river that I realized must border my own land at Whitelow. The grass was knee-high and speckled with late buttercups, but I was transported by that first sight of the Delafosse estate. In its situation alone, the Croxons had chosen our new home well. I dreamed for a moment of myself and Michael making a great fortune, and no longer renting Delafosse Hall but owning every inch of it, my inheritance spinning gold from cotton. Turning back to view the Hall I took a sharp breath; it was as massive and ancient as a child's dream of a castle, the bulk of its walls carpeted in greenery, the diamond-leaded windows sparkling in picturesque stone mullions. True, the barley-twist chimneys leaned askew, and the roofs sagged beneath the weight of years, but the shell of it was magnificent. It cast a strange possessive mood upon me. I remembered Michael's irritation at the house the previous night, and his eagerness to leave. Somehow I had to entice Michael into this shared dream of a happy life here, beside me. Determined to explore the park, I followed the nearest path. After walking through a deep wood for a good while I emerged into the sunlight by a round hill surmounted by a two-story tower. A hunting lodge, Mrs. Croxon had called it, but I thought it more a folly. It had a fantastical quality, with four miniature turrets, each topped with a verdigris-tarnished dome. Above the doorway stood a sundial drawn upon a disc representing a blazing sun. It was embellished with a script I thought might be Latin: FERREA VIRGA EST, UMBRATILIS MOTUS. I wondered whether Michael might know the meaning, or Anne's husband perhaps. As for the sundial's accuracy, the morning light was too weak to cast a line of shadow.

I found myself telling her about an evening some years before, when I was alone at home with my two sons. It was winter; it had been dark since mid-afternoon and the boys were becoming restless. Their father was out, driving back from somewhere. We were waiting for him to come home. I membered the feeling of tension in the room, which seemed to be related to the provisionality of the situation, the fact that we were waiting. The boys kept asking when he would be back and I too kept looking at the clock, waiting for time to pass. Yet I knew that nothing different or particularly important would happen when he got back. It was merely that something was being stretched to breaking point by his absence, something to do with belief: it was as though our ability to believe in ourselves, in our home and our family and in who we said we were, was being worn so thin it might give way entirely. I remembered the pressing feeling of reality, just under the surface of things, like a secret I was struggling to contain. I realized that I didn’t want to be there, in that room. I wanted to go out and walk across the fields in the dark, or go to a city where there was excitement and glamour, or be anywhere where the compulsion of waiting wasn’t lying on me like lead. I wanted to be free. The boys began to argue and fight, in the way that they often did. And this too seemed all at once like a form that could be broken, could be suddenly and shockingly transgressed. We were in the kitchen and I was making something for them to eat at the long stone counter. The boys were at the other end, sitting on stools. My younger son was pestering the older one, wanting him to play with him, and the older one was becoming increasingly irritated. I stopped what I was doing, intending to intervene in their fight, when I saw my older son suddenly take his brother’s head in his hands and drive it down hard against the countertop. The younger one fell immediately to the floor, apparently unconscious, and the older one left him there and ran out of the room. This show of violence, the like of which had never happened in our house before, was not simply shocking – it also concretised something I appeared already to know, to the extent that I believed my children had merely acted in the service of this knowledge, that they had been driven to enact something that they themselves didn’t realise or understand. It was another year before their father moved out of the house, but if I had to locate the moment when the marriage had ended it would be then, on that dark evening in the kitchen, when he wasn’t even there.

The PEOPLE, SCHOOL, EVERYONE, and EVERYTHING is so FAKE AND GAY.' 'I shrieked, at the top of my voice fingers outspread and frozen in fear, unlike ever before in my young life; being the gentle, sweet, and shy girl that I am.' 'Besides always too timid to have a voice, to stand up for me, and forced not to, by masters.' Amidst my thoughts racing ridiculously, 'I feel that it is all just another way for the 'SOCIETY' to make me feel inferior, they think, they are so 'SUPERIOR' to me, and who I am to them.' 'Nonetheless, every day of my life, I have felt like I have been drowning in a pool, with weights attached to my ankles.' 'Like, of course, there is no way for me to escape the chains that are holding me down.' 'The one and only person, that holds the key to my freedom: WILL NEVER LET ME GO! It's like there is within me, and has been deep inside me!' 'I now live in this small dull town for too damn long. It is an UNSYMPATHETIC, obscure, lonely, totally depressed, and depressing place, for any teenage girl to be, most definitely if you're a girl like me.' 'All these streets surrounding me are covered with filth, and born in the hills of middle western Pennsylvania mentalities of slow-talking and deep heritages, and beliefs, that don't operate me as a soul lost and lingering within the streets and halls.' 'My old town was ultimately left behind when the municipality neighboring made the alterations to the main roads; just to save five minutes of commuting, through this countryside village. Now my town sits on one side of that highway.' 'Just like a dead carcass to the rest of the world, which rushes by. What is sullen about this is that it is a historic town, with some immeasurable old monuments, and landmarks.' 'However, the others I see downright neglect what is here, just like me, it seems. Other than me, no one cares. Yet I care about all the little things.' 'I am so attached to all these trivial things as if they are a part of me. It disheartens me to see anything go away from me.' 'It's a community where the litter blows and bisects the road, like the tumble-wheats of the yore of times past.' 'Furthermore, if you do not look where you are going, you will fall in our trip, in one of the many potholes or heaved up bumps in the pavement, or have an evacuated structure masonry descending on your head.' 'Merely one foolproof way of simplifying the appearance of this ghost town.' 'There are still some reminders of the glory days when you glance around.' 'Like the town clock, that is evaporated black that has chipped enamel; it seems that it is always missing a few light bulbs.' 'The timepiece only has time pointing hands on the one side, and it nevermore shows the right time of day.' 'The same can be assumed for the neon signs on the mom-and-pop shops, which flicker at night as if they're in agonizing PAIN.' 'Why? To me is a question that is asked frequently.' 'It is all over negligence!' 'I get the sense and feeling most of the time, as they must prepare when looking around here at night.' 'The streetlamps do not all work, as they should. The glass in them is cracked.' 'The parking meters are always jammed, or just completely broken off their posts altogether.' 'The same can be said, for the town sign that titles this area. It is not even here anymore, as it should be now moved to the town square or shortage of a park.

I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE