Click The Moment Quotes

Don’t pack up your camera until you’ve left the location.

His breath caught, harsh enough that she looked over her shoulder. But his eyes weren't on her face. Or the water. They were on her bare back. Curled as she was against her knees, he could see the whole expanse of ruined flesh, each scar from the lashing. "Who did that to you?" It would have been easy to lie, but she was so tired, and he had saved her useless hide. So she said, "A lot of people. I spent some time in the Salt Mines of Endovier." He was so still that she wondered if he'd stopped breathing. "How long?" he asked after a moment. She braced herself for the pity, but his face was so carefully blank-no, not blank. Calm with lethal rage. "A year. I was there a year before... it's a long story." She was too exhausted, her throat too raw, to say the rest of it. She noticed then his arms were bandaged, and more bandages across his broad chest peeked up from beneath his shirt. She'd burned him again. And yet he had held her- had run all the way here and not let go once. "You were a slave." She gave him a slow nod. He opened his mouth, but shut it and swallowed, that lethal rage winking out. As if he remembered who he was talking to and that it was the least punishment she deserved. He turned on his heel and shut the door behind him. She wished he'd slammed it-wished he'd shattered it. But he closed it with barely more than a click and did not return.

After tail spinning into chaos, one needs a bolt-hole, to resource and ‘challenge’ oneself, break free from the haunting constrictions, squirrel back into bouncy and buoyant surroundings and enjoy the many laugh-out-loud-moments of the day. As soon as one manages to wobble out of one’s shell, everything may click into place again and the radiance and glare of the bright side of life might show again. ("Imbroglio")

No matter how much crap you gotta plow through to stay alive as a photographer, no matter how many bad assignments, bad days, bad clients, snotty subjects, obnoxious handlers, wigged-out art directors, technical disasters, failures of the mind, body, and will, all the shouldas, couldas, and wouldas that befuddle our brains and creep into our dreams, always remember to make room to shoot what you love. It’s the only way to keep your heart beating as a photographer.

John Loengard, the picture editor at Life, always used to tell me, ”If you want something to look interesting, don’t light all of it.

You’ve gotta taste the light, like my friend and fellow shooter Chip Maury says. And when you see light like this, trust me, it’s like a strawberry sundae with sprinkles.

Unpredictability. Accidents. Not good when you’re engaging in, say, brain surgery, but when lighting...wonderful!

There"s nothing left between us at all, is there?” she asked. For a long moment he said nothing, and the pebbles made a clicking noise in his fingers. Then, as if it gave him no pleasure at all, he replied. “Whose fault is that?

I shook my head, sweeping my lips across hers. Not good enough. “I need to hear you say it. I need to know you’re mine.” “I’ve been yours since the second we met,” she said, begging. I stared into her eyes for a few seconds, and then felt my mouth turn up into a half smile, hoping her words were true and not just spoken in the moment. I leaned down and kissed her tenderly, and then she slowly pulled me into her. My entire body felt like it was melting inside of her. “Say it again.” Part of me couldn’t believe it was all really happening. “I’m yours.” She breathed. “I don’t ever want to be apart from you again.” “Promise me,” I said, groaning with another thrust. “I love you. I’ll love you forever.” She looked straight into my eyes when she spoke, and it finally clicked that her words weren’t just an empty promise.

What are the dead, anyway, but waves and energy? Light shining from a dead star? That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition – tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star… Which reminds me, by the way, of a dream I had a couple of weeks ago. I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble. I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below. I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple… click click click… the Pyramids… the Parthenon. History passing beneath my very eyes, changing every moment. 'I thought I'd find you here,' said a voice at my elbow. It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple. I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.' He stared down at the machine. The Colosseum… click click click… the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.' 'What?' He cleared his throat. 'My movements are restricted,' he said. 'I no longer have the ability to travel as freely as I would like.' Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him. 'That information is classified, I'm afraid.' 1 looked around curiously. It seemed that I was the only visitor. 'Is it open to the public?' I said. 'Not generally, no.' I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point. 'Are you happy here?' I said at last. He considered this for a moment. 'Not particularly,' he said. 'But you're not very happy where you are, either.' St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch. 'I hope you'll excuse me,' he said, 'but I'm late for an appointment.' He turned from me and walked away. I watched his back receding down the long, gleaming hall.

He dropped the phone back onto its cradle, began to turn around and felt a sudden ice-cold furrow open up in his side. Strength drained from his legs, and a moment later he sank to his knees. There was warmth now that ran over the initial and persistent cold. Mohammed was confused, and barely noticed the briefcase being removed from his grip. He heard the click of a cell phone opening, and a soft beeping as a number was dialed. 'The package is in my possession,' a female voice said, and the phone clicked shut.

I didn't hear the exact moment Sarren ended Zeke's life. I was just aware of his breathing, tagged at first, then seizing up, as if he could no longer gasp for her. And then, a long, agonizingly slow exhale, the last gulp departing his lungs, as Ezekiel's tortured breaths finally, irreversibly, stopped altogether. "Good night, sweet prince." Sarren crooned, a velvet whisper. The recording clicked off.

I can’t tell you how many pictures I’ve missed, ignored, trampled, or otherwise lost just ‘cause I’ve been so hell bent on getting the shot I think I want.

There are moments you wait for. And then there are moments you wait for. Moments you spend every other moment preparing for. Points of your life that click and turn. Push you in a completely new direction.

There is something strikingly different about the quality of photographs of that time. It has nothing to do with age or colour, or the feel of paper. . . . In modern family photographs the camera pretends to circulate like a friend, clicking its shutters at those moments when its subjects have disarranged themselves to present to it those postures which they would like to think of as informal. But in pictures of that time, the camera is still a public and alien eye, faced with which people feel bound either to challenge the intrusion by striking postures of defiant hilarity, or else to compose their faces, and straighten their shoulders, not always formally, but usually with just that hint of stiffness which suggests a public face.

He lets the door fall shut on its own behind him, and when I hear that awful click, it hits me even harden at that exact moment that Tyler just gave up. And I still don't rally know why.

Say the planet is born at midnight and it runs for one day. First there is nothing. Two hours are lost to lava and meteors. Life doesn’t show up until three or four a.m. Even then, it’s just the barest self-copying bits and pieces. From dawn to late morning—a million million years of branching—nothing more exists than lean and simple cells. Then there is everything. Something wild happens, not long after noon. One kind of simple cell enslaves a couple of others. Nuclei get membranes. Cells evolve organelles. What was once a solo campsite grows into a town. The day is two-thirds done when animals and plants part ways. And still life is only single cells. Dusk falls before compound life takes hold. Every large living thing is a latecomer, showing up after dark. Nine p.m. brings jellyfish and worms. Later that hour comes the breakout—backbones, cartilage, an explosion of body forms. From one instant to the next, countless new stems and twigs in the spreading crown burst open and run. Plants make it up on land just before ten. Then insects, who instantly take to the air. Moments later, tetrapods crawl up from the tidal muck, carrying around on their skin and in their guts whole worlds of earlier creatures. By eleven, dinosaurs have shot their bolt, leaving the mammals and birds in charge for an hour. Somewhere in that last sixty minutes, high up in the phylogenetic canopy, life grows aware. Creatures start to speculate. Animals start teaching their children about the past and the future. Animals learn to hold rituals. Anatomically modern man shows up four seconds before midnight. The first cave paintings appear three seconds later. And in a thousandth of a click of the second hand, life solves the mystery of DNA and starts to map the tree of life itself. By midnight, most of the globe is converted to row crops for the care and feeding of one species. And that’s when the tree of life becomes something else again. That’s when the giant trunk starts to teeter.

That was the moment I fell in love with Josh Walker. Everything clicked into place, mending the broken parts of my soul enough to finally breathe freely, to soak in everything about him, and the beauty of what we were together.

Every once in a while, it pays to listen to those annoying characters who are just waiting to tell you how to do your job.

He clicked this tongue to the roof of this mouth, studying me for a moment, his eyes a shade darker than they had been before. "I think your favorite color is yellow," he guessed, and watched as the surprise trickled across my face. "But not a bright yellow - more of a golden yellow. The color of sunflowers. That might be your favorite flower.

Everybody goes through pain man…life is never going to be completely positive. It's never going to rain gummy bears, gumdrops, or skittles. Keep your mouth open anyway, and embrace those moments in the rain...at one point you just have to click reset.

He handed me a bandana. "Tie that on." "Why?" I said, but I did it anyway. "Norman, you are way too into ceremony." "It's important." I could hear him moving around, adjusting things, before he came to sit beside me. "Okay," he said. "Take a look." I pulled off the blindfold. Beside me, Norman watched me see myself for the first time. And it was me. At least, it was a girl who looked like me. She was sitting on the back stoop of the restaurant, legs crossed and dangling down. She had her head slightly tilted, as if she had been asked something and was waiting for the right moment to respond, smiling slightly behind the sunglasses that were perched on her nose, barely reflecting part of a blue sky. The girl was something else, though. Something I hadn't expected. She was beautiful. Not in the cookie-cutter way of all the faces encircling Isabel's mirror. And not in the easy, almost effortless style of a girl like Caroline Dawes. This girl who stared back at me, with her lip ring and her half smile - not quite earned - knew she wasn't like the others. She knew the secret. And she'd clicked her heels three times to find her way home. "Oh, my God," I said to Norman, reaching forward to touch the painting, which still didn't seem real. My own face, bumpy and textured beneath my fingers, stared back at me. "Is this how you see me?" "Colie." He was right beside me. "That's how you are.

When shooting a story about someone, their hands should always be on your list to shoot.

It is a well-known established fact throughout the many-dimensional worlds of the multiverse that most really great discoveries are owed to one brief moment of inspiration. There's a lot of spadework first, of course, but what clinches the whole thing is the sight of, say, a falling apple or a boiling kettle or the water slipping over the edge of the bath. Something goes click inside the observer's head and then everything falls into place. The shape of DNA, it is popularly said, owes its discovery to the chance sight of a spiral staircase when the scientist‘s mind was just at the right receptive temperature. Had he used the elevator, the whole science of genetics might have been a good deal different. This is thought of as somehow wonderful. It isn't. It is tragic. Little particles of inspiration sleet through the universe all the time traveling through the densest matter in the same way that a neutrino passes through a candyfloss haystack, and most of them miss. Even worse, most of the ones that hit the exact cerebral target, hit the wrong one. For example, the weird dream about a lead doughnut on a mile-high gantry, which in the right mind would have been the catalyst for the invention of repressed-gravitational electricity generation (a cheap and inexhaustible and totally non-polluting form of power which the world in question had been seeking for centuries, and for the lack of which it was plunged into a terrible and pointless war) was in fact had by a small and bewildered duck. By another stroke of bad luck, the sight of a herd of wild horses galloping through a field of wild hyacinths would have led a struggling composer to write the famous Flying God Suite, bringing succor and balm to the souls of millions, had he not been at home in bed with shingles. The inspiration thereby fell to a nearby frog, who was not in much of a position to make a startling contributing to the field of tone poetry. Many civilizations have recognized this shocking waste and tried various methods to prevent it, most of them involving enjoyable but illegal attempts to tune the mind into the right wavelength by the use of exotic herbage or yeast products. It never works properly.

Sometimes in life there are these random moments when everything just clicks. When all the fragments of your fractured past fall together, merging in your mind to form a lucid image of your future. Each mistake made becomes a vital piece as it serves whatever purpose necessary to complete the picture as a whole and suddenly everything becomes so clear.

There they are, held like flies in the amber of that moment—click goes the camera and on goes life; the minutes, the days, the years, the decades, taking them further and further from that happiness and promise of youth, from the hopes Aunt Sadie must have had for them, and from the dreams they dreamed for themselves. I often think there is nothing quite so poignantly sad as old family groups.

So we wait?” asked Severard. “We wait, and we look to our defences. That and we try to find some money. Do you have any cash, Severard?” “I did have some. I gave it to a girl, down in the slums.” “Ah. Shame.” “Not really, she fucks like a madman. I’d thoroughly recommend her, if you’re interested.” Glokta winced as his knee clicked. “What a thoroughly heartwarming tale, Severard, I never had you down for a romantic. I’d sing a ballad if I wasn’t so short of funds.” “I could ask around. How much are we talking about?” “Oh, not much. Say, half a million marks?” One of the Practical’s eyebrows went up sharply. He reached into his pocket, dug around for a moment, pulled his hand out and opened it. A few copper coins shone in his palm. “Twelve bits,” he said. “Twelve bits is all I can raise.

I slid down in the seat and began to weep. I wept for her, for me, but mostly because the siren call of my first big story with a yellow border around it was more powerful than the call of fatherhood.

You've seen those pictures of couples kissing in front of a Christmas tree, or clasping hands on their wedding day, or holding a newborn baby between them-a snapshot of joy. But what do you really know about them? Just that at the second the shutter clicked, they loved each other. You have no idea what trials came before, or after. You don't know if one of them cheated, if they grew apart, if a divorce loomed on the horizon. You simply see that in one static moment, they were happy.

Writers and artists know that ethereal moment, when just one, fleeting something--a chill, an echo, the click of a lamp, a question—-ignites the flame of an entire work that blazes suddenly into consciousness.

And there are certain moments in your life when something becomes clear, and other things in the past - things that your mind, unbeknownst to you, had earmarked because they didn't quite add up - suddenly all click into place, like small gears in a watch.

You should really, like, dump her and date me instead,' May heard herself saying, all confidence. 'I'm not as irritating. I mean, I'm irritating, but I'm not as bad as she is. And you know me better. Wouldn't that be funny? I mean, we've already hooked up, so we're good.' We broke up,' Pete said quickly. His voice was so bright that May could hear the smile coming through. For a moment she was confused. Who, you and me?' No. Nell and i.' Oh . . .' The meter in her brain clicked once or twice, signaling May that she'd probably said enough. I have to go,' she said suddenly. 'Okay? I think that's great. Cool. Okay. Gotta go now. Hey, Pete, I love you!

We aren't able to click backspace or delete. That's the beauty of real life; good or bad we live in the moment.

In the psychology of aesthetics, there is a name for the moment between the anxiety of confronting something new and the satisfying click of understanding it. It is called an 'aesthetic aha.

These moments of nocturnal prowling leave an indelible impression. Eyes and ears are tensed to the maximum, the rustling approach of strange feet in the tall grass in an unutterably menacing thing. Your breath comes in shallow bursts; you have to force yourself to stifle any panting or wheezing. There is a little mechanical click as the safety-catch of your pistol is taken off; the sound cuts straight through your nerves. Your teeth are grinding on the fuse-pin of the hand-grenade. The encounter will be short and murderous. You tremble with two contradictory impulses: the heightened awareness of the huntsmen, and the terror of the quarry. You are a world to yourself, saturated with the appalling aura of the savage landscape. p. 71

But it was fantasy, and she knew it. It was her fantasy, and the fantasy of everyone else who would look at her and at her pictures; and it would stop being real the moment the man with the camera stopped clicking.

Miss Clover," said Minister Fairweller to the Viscount after a long moment, "is not here. She has gone to a speech with her father, in Werttemberg. I could set you up with a carriage, if you'd like." The girls' mouths dropped open. Viscount Duquette did not see. "Well!" he said,clicking his heels together. "It is nice to see that someone behaves like a gentleman around here!" The girls found Clover about an hour later, hidinga mong the untrimmed unicorn and lion topiaries, weeping on a stone bench. They flocked to her, wrapped an extra shawl around her shoulders, and told her the story. "Werttemberg, though," said Eve. That's two countries away!" Clover wept and laughed at the same time.

This is how it feels in the split second you suddenly become aware that you’re falling in love with someone. The click of a jigsaw’s last piece, the rainfall of coins in a jackpot slot machine, the right song striking up and your being swept away by its opening bars. That conviction of making complete sense of the universe, in one moment. Of course. You’re where I should be. You’re here.

So I'm biding my time, like a surfer waiting for a wave. I'm pretty good at surfing, as it happens, and I know the wave will come. When the moment is right, I'll get Demeter's attention. She'll look at my stuff, everything will click, and I'll start riding my life. Not paddling, paddling, paddling, like I am right now.

Mr Wisdom,' said the girl who had led him into the presence. 'Ah,' said Howard Saxby, and there was a pause of perhaps three minutes, during which his needles clicked busily. 'Wisdom, did she say?' 'Yes. I wrote "Cocktail Time"' 'You couldn't have done better,' said Mr Saxby cordially. 'How's your wife, Mr Wisdom?' Cosmo said he had no wife. 'Surely?' "I'm a bachelor.' Then Wordsworth was wrong. He said you were married to immortal verse. Excuse me a moment,' murmured Mr Saxby, applying himself to the sock again. 'I'm just turning the heel. Do you knit?' 'No.' 'Sleep does. It knits the ravelled sleave of care.' (After a period of engrossed knitting, Cosmo coughs loudly to draw attention to his presence.) 'Goodness, you made me jump!' he (Saxby) said. 'Who are you?' 'My name, as I have already told you, is Wisdom' 'How did you get in?' asked Mr Saxby with a show of interest. 'I was shown in.' 'And stayed in. I see, Tennyson was right. Knowledge comes, but Wisdom lingers. Take a chair.' 'I have.' 'Take another,' said Mr Saxby hospitably.

In a world of intrusive technology, we must engage in a kind of struggle if we wish to sustain moments of solitude. E-reading opens the door to distraction. It invites connectivity and clicking and purchasing. The closed network of a printed book, on the other hand, seems to offer greater serenity. It harks back to a pre-jacked-in age. Cloth, paper, ink: For these read helmet, cuirass, shield. They afford a degree of protection and make possible a less intermediated, less fractured experience. They guard our aloneness. That is why I love them, and why I read printed books still.

When I was in school, I wanted to be W. Eugene Smith. He was a legendary staffer at Life, a consummate photojournalist, and an architect of the photo essay. He was also kinda crazy. That was obvious when he came to lecture at Syracuse University and put a glass of milk and a glass of vodka on the lectern. Both were gone at the end of the talk. He was taking questions and I was in the front row, hanging on every word. Mr. Smith, is the only good light available light?” came the question. He leaned into the microphone. “Yes,” he baritoned, and paused. A shudder ran through all of us. That was it! No more flash! God’s light or nothing! But then he leaned back into the mic, “By that, I mean, any &*%%@$ light that’s available.” Point taken.

I see it all through the lens of my camera—the flurry of movement, the venue staff in black T-shirts, giving orders into their headsets. As I take it all in, my mind weighs the texture, the composition, the possibility of each changing scene, and I struggle to hold back, to keep my finger from pressing too soon. That’s my biggest flaw as a photographer. I’m impatient—trigger-happy. I want the shot now, now, now, click, click, click, and if I could just wait a second more, the moment would really flourish.

The moment I saw you, something inside me—something I thought died a long time ago—clicked. I didn’t realize it then, but I do now. You’re it for me. The first, the last, the only person I want to touch or taste. The only one I want to kill for. The one I’d die for.

Something clicked inside me at that moment. I stood outside of myself, realizing how easy it was to judge someone, to vilify and condemn the things we don’t understand, because:

We get one chance and that one chance can make or break us. Turn our event into enchantment or one of tragedy. Either tears are shed or the sounds of laughter fill a room. We aren't able to click backspace or delete. That's the beauty of real life; good or bad we live in the moment.

Snape raised his eyebrows and his tone was sardonic as he asked, “Are you intending to let him kill you?” “Certainly not. You must kill me.” There was a long silence, broken only by an odd clicking noise. Fawkes the phoenix was gnawing a bit of cuttlebone. “Would you like me to do it now?” asked Snape, his voice heavy with irony. “Or would you like a few moments to compose an epitaph?

Jay Maisel always says to bring your camera, ‘cause it’s tough to take a picture without it. Pursuant to the above aforementioned piece of the rule book, subset three, clause A, paragraph four would be…use the camera. Put it to your eye. You never know. There are lots of reasons, some of them even good, to just leave it on your shoulder or in your bag. Wrong lens. Wrong light. Aaahhh, it’s not that great, what am I gonna do with it anyway? I’ll have to put my coffee down. I’ll just delete it later, why bother? Lots of reasons not to take the dive into the eyepiece and once again try to sort out the world into an effective rectangle. It’s almost always worth it to take a look.

The moment he left the warm sheets and the door clicked shut, I had that feeling you get when you are lost in a strange town at night. I curled into the chair where he had watched me undress and tears wet my cheeks. Then I dried my eyes, I looked in the mirror, and I said these two words. Never again.

Every time she heard the click of the shutter, followed by that faint rustle, she remembered when she used to catch grasshoppers in the garden of their house in the mountains when she was a little girl, trapping them between her cupped hands. She thought that it was the same with photographs, only now she seized time and fixed it on celluloid, capturing it halfway through its jump toward the next moment.

Oftentimes, in the evening after they have finished spreading the fertiliser, the writer and his wife sit on the fence - with a wonderful sense of "togetherness" - and listen to the magic symphony of the crickets. I can understand that. Around our house, we're pretty busy, and of course we're not the least bit integrated, but nevertheless my husband and I often sit together in the deepening twilight and listen to the sweet, gentle slosh-click, slosh-click of the dishwasher. He smiles and I smile. Oh, it's a golden moment.

Amber was designed for life. She was designed for color and movement. She was not a girl born for the click of the camera’s lens. No device could capture her, the way she was, the way she was meant to be. She was not born to be still or stationary. Without her color she was broken, a faulty image that could never be fixed. Without her voice she was nothing. Amber was gone. At that moment it was all clear to me. Everything to come was just a formality.

Discussing it later, many of us felt we suffered a mental dislocation at that moment, which only grew worse through the course of the remaining deaths. The prevailing symptom of this state was an inability to recall any sound. Truck doors slammed silently; Lux's mouth screamed silently; and the street, the creaking tree limbs, the streetlight clicking different colors, the electric buzz of the pedestrian crossing box - all these usually clamorous voices hushes, or had begun shrieking at a pitch too high for us to hear, though they sent chills up our spines. Sound returned only once Lux had gone. Televisions erupted with canned laughter. Fathers splashed, soaking aching backs.

It's good luck!" Winter said suddenly, her eyes bright with mischief. Scarlet paused. "What's good luck?" "On Luna," said Winter, folding her hands as if she were reciting from a wedding etiquette guide, "it's considered good luck for the bride to don her dress for at least an hour for each of the three days leading up to the wedding. It symbolizes her commitment to the marriage. And as your groom is Lunar, I think we should follow some of his traditions, don't you?" "An hour? said Scarlet. "That's really pushing it, don't you think?" Winter shrugged. With a drawn-out sigh, Scarlet said, "Fine, I'll go put it on. But I'm not going to stay in it for an hour. I still have chores to do." She slipped out of the bedroom carrying the dress, and a moment later they heard the click of the bathroom door in the hall. "I've never heard of that tradition before," said Cress. "That's because I made it up," said Winter.

I feel it – the exact moment something shifts between us. Like it snaps and then clicks into place. I know he feels it, too. I don’t quite know exactly what it is or what it means, but I just know that it matters. It matters a lot.

Curiosity broke her earlier resolve. "Have you ever been tested?" "No." He stood behind Sara, holding the camera in front so she could see. "Zoom here," he said, flicking the toggle. "You could probably-" "This is macro." "Will-" "Super macro." He kept talking over her until she gave up. "Here's where you adjust for color. This is light. Anti-shake. Red-eye." He clicked through the features like a photography instructor. Sara Finally relented. "Why don't I point and you shoot?" "All right." His back was stiff, and she could tell that he was irritated. "I'm sorry I-" "Please don't apologize." Sara held his gaze for a few moments longer, wishing she could fix this. There was nothing to say if he wouldn't even let her apologize.

Peace, he knows, can be shattered in a million variations: great visions of the end, a rain of ash, a disease on the wind, a blast in the distance, the sun dying like a kerosene lamp clicked off. And in smaller ways: an overheard remark, his daughter’s sour mood, his own body faltering. There’s no use in anticipating the mode. He will wait for the hushed spaces in life, for Ellis’s snore in the dark, for Grete’s stealth kiss, for the warm light inside the gallery, his images on the wall broken beyond beauty into blisters and fragments, returning in the eye to beauty again. The voices of women at night on the street, laughing; he has always loved the voices of women. Pay attention, he thinks. Not to the grand gesture, but to the passing breath. He sits. He lets the afternoon sink in. The sweetness of the soil rises to him. A squirrel scolds from high in a tree. The city is still far away, full of good people going home. In this moment that blooms and fades as it passes, he is enough, and all is well in the world.

She sat in silence as he limped out, teeth gritted. Click, tap, grunt. Click, tap, grunt. That mixture of cunning, ruthlessness, burning ambition and constant pain was far from unfamiliar. She had heard it said that every woman ends up marrying her father. Until that moment, she had always imagined herself the exception.

There was a click of high heels in the hall behind us, and a young woman appeared. She was pretty enough, I suspected, but in the tight black dress, black hose, and with her hair slicked back like that, it was sort of threatening. She gave me a slow, cold look and said, "So. I see that you’re keeping low company after all, Ravenius." Ever suave, I replied, "Uh. What?" "’Ah-ree," Thomas said. I glanced at him. He put his hand flat on the top of his head and said, "Do this." I peered at him. He gave me a look. I sighed and put my hand on the top of my head. The girl in the black dress promptly did the same thing and gave me a smile. "Oh, right, sorry. I didn’t realize." "I will be back in one moment," Thomas said, his accent back. "Personal business." "Right," she said, "sorry. I figured Ennui had stumbled onto a subplot." She smiled again, then took her hand off the top of her head, reassumed that cold, haughty expression, and stalked clickety-clack back to the bistro. I watched her go, turned to my brother while we both stood there with our hands flat on top of our heads, elbows sticking out like chicken wings, and said, "What does this mean?" "We’re out of character," Thomas said. "Oh," I said. "And not a subplot." "If we had our hands crossed over our chests," Thomas said, "we’d be invisible." "I missed dinner," I said. I put my other hand on my stomach. Then, just to prove that I could, I patted my head and rubbed my stomach. "Now I’m out of character—and hungry.

He closes the door with a determined click, and I hear him call to a flight attendant, and I sink down onto the toilet seat, resting my elbows on my knees and my head in my hands as I listen to him through the door. "I'm sorry to bother you but my wife," he says, and then pauses. With the last word he says, my heart begins to hammer. "The one who now got sick? She's started her... cycle? And I'm wondering if you keep any, or rather if you have... something? You see this all happened a bit fast and she packed in a hurry, and before that we were in Vegas. I have no idea why she came with me but I really really don't want to screw this up. And now she needs something. Can she, uh," he stutters, finally saying simply, "borrow quelque chose?" I cover my mouth as he continues to ramble, and I would given anything in this moment to see the expression of the flight attendant on the other side of this door. "I meant use," he continues. "Not to borrow because I don't think they work that way." I hear a woman's voice ask, "Do you know if she needs tampons or pads?" Oh God. Oh God. This can't be happening. "Um..." I hear him sigh and then say, "I have no idea but I'll give you a hundred dollars to end this conversation and give me both.

The Click Moment

With a final click of the door, I know she's gone. It feels like that moment when the end credits run at a movie, and you wish there were just a few more minutes left before you have to dump your popcorn in the trash. A few more moments before you return to your real life, leaving the imaginary world and characters of the movie behind, trading them in for your own reality.

My biggest discovery was that you can literally re-create your life. You can redefine it. You don’t have to live in the past. I found that not only did I have fight in me, I had love. By the time we clicked, I had had enough therapy and enough friendship and enough beautiful moments in my life to know what love is and what I wanted my life to feel and look like. When I got on my knees and I prayed to God for Julius, I wasn’t just praying for a man. I was praying for a life that I was not taught to live, but for something that I had to learn. That’s what Julius represented.

turn to my left and see a young couple walking along the sidewalk.  Seattle’s Alki Beach is pretty much deserted, aside from a few die-hards, or early morning insomniacs, like me.  The young couple are walking away from me, hand in hand, smiling at each other, and I point my lens at them and click.  I zoom in on their sneaker-clad feet and locked hands and shoot some more, my photographer’s eye appreciating their intimate moment on the beach. I inhale the salty air and stare out at the sound once again as a red-sailed boat gently glides out on the water. The early morning sunshine is

Is that a no?" I said. "No. I mean.." He struggled for the smile again. "I'm just waiting for the punch line. Something about making it date so I need to pay. Or you expecting flowers. Or.." He trailed off. "There isn't a punch line," I said. I rose onto my knees and inched over, in front of him. Then I stopped about a foot away. "No punch line, Daniel," I said. "I'm asking if you'll go out with me." He didn't answer. Just reched out, his hand sliding between my hair and face, pulling me toward him and.. And he kissed me. His lips touched mine, tentatively, still unsure, and I eased closer, my arms going around his neck. He kissed me for real then, a long kiss that I felt in the bottom of my soul, a click, some deep part of me saying, "Yes, this is it." Even when the kiss broke off, it didn't end. It was like coming to the surface for a quick gasp of air, then plunging back down again, finding that sweet spot again, and holding onto it for as long as we could. Finally it tapered off, and we were lying on the picnic blanket, side by side, his hand on my hip, kissing slower now, with more breaks for air. until I said, "We should have done that sooner." He smiled, a lazy half smile, and he just looked at me for a moment, our gazes locked, lying there in drowsy happiness, before he said, "I think now's just fine." And he kissed me again, slower and softer now, as we rested there, eyes half closed. "So, about Saturday, did you ask me?" he said after a minute, "Because I'm pretty sure that means yo're paying." "Nope. You were imaging it. Considering how you eat, the meal bill is all yours. But I will spring for the movie. And bring you flowers." He chuckled. "Will you?" "Yep, a dozen pink roses, which you'll have to carry all night or risk offending me." "And what happens if I offend you?" "You don't get any more of this." I leaned in and kissed him again. And we stayed out there, on the blanket, as the sun fell, talking and kissing mostly, just being together. We had a long road ahead of us, and I knew it wasn't going to be easy. But I had everything I wanted-everything I needed-and I'd get through it just fine. We all would.

XXIV. And more than that - a furlong on - why, there! What bad use was that engine for, that wheel, Or brake, not wheel - that harrow fit to reel Men's bodies out like silk? With all the air Of Tophet's tool, on earth left unaware Or brought to sharpen its rusty teeth of steel. XXV. Then came a bit of stubbed ground, once a wood, Next a marsh it would seem, and now mere earth Desperate and done with; (so a fool finds mirth, Makes a thing and then mars it, till his mood Changes and off he goes!) within a rood - Bog, clay and rubble, sand, and stark black dearth. XXVI. Now blotches rankling, coloured gay and grim, Now patches where some leanness of the soil's Broke into moss, or substances like boils; Then came some palsied oak, a cleft in him Like a distorted mouth that splits its rim Gaping at death, and dies while it recoils. XXVII. And just as far as ever from the end! Naught in the distance but the evening, naught To point my footstep further! At the thought, A great black bird, Apollyon's bosom friend, Sailed past, not best his wide wing dragon-penned That brushed my cap - perchance the guide I sought. XXVIII. For, looking up, aware I somehow grew, Spite of the dusk, the plain had given place All round to mountains - with such name to grace Mere ugly heights and heaps now stolen in view. How thus they had surprised me - solve it, you! How to get from them was no clearer case. XXIX. Yet half I seemed to recognise some trick Of mischief happened to me, God knows when - In a bad dream perhaps. Here ended, then Progress this way. When, in the very nick Of giving up, one time more, came a click As when a trap shuts - you're inside the den. XXX. Burningly it came on me all at once, This was the place! those two hills on the right, Crouched like two bulls locked horn in horn in fight; While to the left a tall scalped mountain ... Dunce, Dotard, a-dozing at the very nonce, After a life spent training for the sight! XXXI. What in the midst lay but the Tower itself? The round squat turret, blind as the fool's heart, Built of brown stone, without a counterpart In the whole world. The tempest's mocking elf Points to the shipman thus the unseen shelf He strikes on, only when the timbers start. XXXII. Not see? because of night perhaps? - why day Came back again for that! before it left The dying sunset kindled through a cleft: The hills, like giants at a hunting, lay, Chin upon hand, to see the game at bay, - Now stab and end the creature - to the heft!' XXXIII. Not hear? When noise was everywhere! it tolled Increasing like a bell. Names in my ears Of all the lost adventurers, my peers - How such a one was strong, and such was bold, And such was fortunate, yet each of old Lost, lost! one moment knelled the woe of years. XXXIV. There they stood, ranged along the hillsides, met To view the last of me, a living frame For one more picture! In a sheet of flame I saw them and I knew them all. And yet Dauntless the slug-horn to my lips I set, And blew. 'Childe Roland to the Dark Tower came.

His were always lighthearted notes from the places they'd visited, scrawled in the limited space on the back of the cards, whereas hers tended to be longer and slightly rambling, unrestricted by the confines of paper. But sitting there with the cursor blinking at him, he wasn't sure what to say. There was something too immediate about an e-mail, the idea that she might get it in mere moments, that just one click of the mouse would make it appear on her screen in an instant, like magic. He realized how much he preferred the safety of a letter, the physicality of it, the distance it had to cross on its way from here to there, which felt honest and somehow more real.

The click of the seat belt securing into the buckle is the only sound to break the awkward silence. I feel his warm breath on my neck as he reaches and I take a deep nervous inhale. His scent fills my nose, it is clean and warm, just like in the coffee shop. The smell of his skin is delicious. I try to stop these thoughts, but they are invading my brain in a way that has never happened to me before. Not even with...Rick. I try push him back out of my mind at this moment because I feel a sense of guilt. Rick and I are frozen. That’s the only way I can describe us. He is faithful, he is steady, he is nice, but he is not like this man in front of me: new, mysterious, and unpredictable. Rick and I are in a state of comfort, but like much of my life, I am becoming more and more discontent with comfort.

After we've been dancing awhile and need a breather, we walk off the dance floor. I whip out my cell and say, "Pose for me." The first picture I take is of him trying to pose like a cool bad boy. It makes me laugh. I take another one before he can strike a pose this time. "Let's take one of the both of us," he says, pulling me close. I press my cheek against his while he takes my cell and puts it as far away as he can reach, then freezes this perfect moment with a click. After the picture is taken, he pulls me into his arms and kisses me.

The rock there is described as “blue-gray true unfading slate.” It is strong but “soft,” and will accept a polishing that makes it smoother than glass. From Memphis to St. Joe, from Joplin to River City, there is scarcely a hustler in the history of pool who has not racked up his runs over Martinsburg slate. For anybody alive who still hears corruption in the click of pocket billiards, it is worth a moment of reflection that not only did all those pool tables accumulate on the ocean floor as Ordovician guck but so did the blackboards in the schools of all America.

But at that moment all I could see was the wolf in the white van, so alive, so strong. Hidden from view, unnoticed, concealed. And I thought, maybe he's real, this wolf, and he's really out there in a white van somewhere, riding around. Maybe he's in the far back, pacing back and forth, circling, the pads of his huge paws raw and cracking, his thick, sharp claws dully clicking against the raised rusty steel track ridges on the floor. Maybe he's sound asleep, or maybe he's just pretending. And then the van stops somewhere, maybe, and somebody gets out and walks around the side to the back and grabs hold of the handle and flings the doors open wide. Maybe whoever's kept him wears a mechanic's jumpsuit and some sunglasses, and he hasn't fed the great wolf for weeks, cruising the streets of the city at night, and the wolf's crazy with hunger now; he can't even think. Maybe he's not locked up in the back at all: he could be riding in the passenger seat, like a dog, just sitting and staring out the open window, looking around, checking everybody out. Maybe he's over in the other seat behind the steering wheel. Maybe he's driving.

If I had known, would I have gone back sooner? If there was an audible reshuffle and click every time my path was altered, some Jumanji-like close-up of a game piece slotting into place, would it have changed our fate? It could have been that moment or a million before it; I’ll never know.

Grief releases in spurts. This is heaven's design. If it didn't offer moments of repose, we would die beside those we mourn. Like a switch, it flips agony on and off. On, we are strangled by death until we are near it ourselves. It clicks off before we suffocate. This is the void, the vacuum of nothing.

It's funny. Dev had always said disposables were different. That what they contained was more special because you couldn't instantly see inside. You had to wait. You had to invest in the moment and then wait to see what you got. And those moments had to be the right moments. You had to be sure you wanted this moment when you pressed the button, because time was always running out, you were always one click closer to the end. That's what it felt like here. But that's what made it exciting. I looked at the tin number at the top of the wheel. 1. Eleven more clicks. What would they be? Who'd be in them? What story would they tell?

She turns on her laptop, raises her spectacles to her face. She reads the day’s headlines. But they might be from any day. A click can take her from breaking news to articles archived years ago. At every moment the past is there, appended to the present. It’s a version of Bela’s definition, in childhood, of yesterday.

They waited. And waited. And waited some more. Still nothing happened. She turned to Evan and looped her arms round his neck. "I think we might have to kiss. Aurora started them [The Harps] playing with her human boyfriend. I bet hey didn't just hold hands." Suddenly he looked just like the boys at school, impish and foxy. He out his arms tight around her neck. "Or maybe we have to do something more?" She laughed. "You wish." Their faces were inches apart. Little sparks of static were flashing and clicking between them. "I want to kiss you, just in case," he said. So he did, right there beneath the hard in the weird purple light, with their hair standing out like dandelion's. Her first true kiss. Strange. Soft. Sweet. And pretty painful because of the sparks that flew between their lips and zapped of their teeth. And the next moment they were hugging and kissing and almost falling over, until they bumped up against the harp. And this time it didn't ripple beneath them, it gave way." Page 272

What passed in the mind of this man at the supreme moment of his agony cannot be told in words. He was still comparatively young, he was surrounded by the loving care of a devoted family, but he had convinced himself by a course of reasoning, illogical perhaps, yet certainly plausible, that he must separate himself from all he held dear in the world, even life itself. To form the slightest idea of his feelings, one must have seen his face with its expression of enforced resignation and its tear-moistened eyes raised to heaven. The minute hand moved on. The pistols were loaded; he stretched forth his hand, took one up, and murmured his daughter's name. Then he laid it down seized his pen, and wrote a few words. It seemed to him as if he had not taken a sufficient farewell of his beloved daughter. Then he turned again to the clock, counting time now not by minutes, but by seconds. He took up the deadly weapon again, his lips parted and his eyes fixed on the clock, and then shuddered at the click of the trigger as he cocked the pistol. At this moment of mortal anguish the cold sweat came forth upon his brow, a pang stronger than death clutched at his heart-strings. He heard the door of the staircase creak on its hinges—the clock gave its warning to strike eleven—the door of his study opened; Morrel did not turn round—he expected these words of Cocles, "The agent of Thomson & French." He placed the muzzle of the pistol between his teeth. Suddenly he heard a cry—it was his daughter's voice. He turned and saw Julie. The pistol fell from his hands. "My father!" cried the young girl, out of breath, and half dead with joy—"saved, you are saved!" And she threw herself into his arms, holding in her extended hand a red, netted silk purse.

He hands me a book- paperback cover with a picture of the bay. I flip through, find picture after picture from my month in Felicity Bay, all those *beep* *click* *beep* times that Daniel captured, put in a book - a baby crab, mermaid hair, Froot Loops, sandy toes, tree house, and even stained glass windows, and a chalice - moments of significance, ordinary things that turned out to be extraordinary." -Bailey

Can you do it again tonight?" "The Catamounts were a wretched team," Andrew said. "They brought that ridicule on themselves." "Can you or can't you?" "I don't see why I should." Neil heard the click of a lock coming undone and knew the referees were opening the door. Andrew wasn't moving yet, but Neil still put an arm in his path to keep him where he was. He pressed his gloved hand to the wall and leaned in as close to Andrew as he could with all of his bulky gear on. "I'm asking you to help us," Neil said. "Will you?" Andrew considered it a moment. "Not for free." "Anything," Neil promised, and stepped back to take his place in line again. Neil didn't know what he'd gotten himself into, but he honestly didn't care, because Andrew delivered exactly what Neil wanted him to. Andrew closed the goal like his life depended on it and smashed away every shot. The Bearcat strikers took that challenge head-on. They feinted and swerved and threw every trick shot they had at Andrew. More than once Andrew used his glove or body to block a ball he couldn't get his racquet to in time. That might have been enough, except Andrew didn't stop there. For the first time ever he started talking to the defense line. Neil only understood him in snatches, since there was too much space and movement between them, but what he caught was enough. Andrew was chewing out the backliners for letting the strikers past them so many times and ordering them to pick up the pace. Neil worried for a moment what they'd do with Andrew's rude brand of teamwork at their backs, but the next time he got a good look at Matt, Matt was grinning like this was the most fun he'd had in years.

After a few moments and a series of clicks, I heard, “Jayne here. How can I help you?” “Actually, I’m the one that can help you.” “Ms. Lane,” he said flatly. “The one and only. You want to know what’s going on in this city, Inspector? Join me for tea this afternoon. Four o’clock. At the bookstore.” I caught myself on the verge of adding, in a deep announcer’s voice, and come alone. I’m the product of a generation that watches too much TV.

Glancing around the entrance hall, she realized the crate was no longer in the corner. The twins must have raced downstairs the moment it had been mentioned. Clutching it on either side, they lugged it furtively toward the receiving room. "Girls," Kathleen said sharply, "bring that back here at once!" But it was too late. The receiving room's double doors closed, accompanied by the click of a key turning in the lock. Kathleen stopped short, her jaw slackening. West and Helen staggered together, overcome with hilarity. "I'll have you know," Mrs. Church said in amazement, "it took our two stoutest footmen to bring that crate into the house. How did two young ladies manage to carry it away so quickly?" "Sh-sheer determination," Helen wheezed. "All I want in this life," West told Kathleen, "is to see you try to pry that crate away from those two." "I wouldn't dare," she replied, giving up. "They would do me bodily harm.

Beauty isn’t an arrangement of features, even features as perfect as Finlay Hart’s, it’s a feeling. This is how it feels in the split second you suddenly become aware that you’re falling in love with someone. The click of a jigsaw’s last piece, the rainfall of coins in a jackpot slot machine, the right song striking up and your being swept away by its opening bars. That conviction of making complete sense of the universe, in one moment. Of course. You’re where I should be. You’re here.

I looked back and forth between them, feeling the heat of their anger, the unspoken words swelling in the air like smoke. Jerry took a slow sip from his beer and lit another cigarette. "You don't know anything about that little girl," he told Nona. "You're just jealous because Cap belongs to her now." I could see Nona's heartbeat flutter beneath her t-shirt, the cords tightening in her neck. "Her mommy and daddy might have paid for him," she whispered. "But he's mine." I waited for Jerry to cave in to her, to apologize, to make things right between them. But he held her gaze, unwavering. "He's not." Nona stubbed her cigarette out on the barn floor, then stood. "If you don't believe me," she whispered, "I'll show you." My sister crossed the barn to Cap's stall and clicked her tongue at him. His gold head appeared in the doorway and Nona swung the stall door open. "Come on out." she told him. Don't!" I said, but she didn't pause. Cap took several steps forward until he was standing completely free in the barn. I jumped up, blocking the doorway so that he couldn't bolt. Jerry stood and widened himself beside me, stretching out his arms. "What the hell are you doing?" he asked. Nona stood beside Cap's head and lifted her arms as though she was holding an invisible lead rope. When she began to walk, Cap moved alongside her, matching his pace to hers. Whoa," Nona said quietly and Cap stopped. My sister made small noises with her tongue, whispering words we couldn't hear. Cap's ears twitched and his weight shifted as he adjusted his feet, setting up perfectly in showmanship form. Nona stepped back to present him to us, and Jerry and I dropped our arms to our sides. Ta da!" she said, clapping her hands at her own accomplishment. Very impressive," Jerry said in a low voice. "Now put the pony away." Again, Nona lifted her hands as if holding a lead rope, and again, Cap followed. She stepped into him and he turned on his heel, then walked beside her through the barn and back into his stall. Once he was inside, Nona closed the door and held her hands out to us. She hadn't touched him once. Now," she said evenly. "Tell me again what isn't mine." Jerry sank back into his chair, cracking open a fresh beer. "If that horse was so important to you, maybe you shouldn't have left him behind to be sold off to strangers." Nona's face constricted, her cheeks and neck darkening in splotches of red. "Alice, tell him," she whispered. "Tell him that Cap belongs to me." Sheila Altman could practice for the rest of her life, and she would never be able to do what my sister had just done. Cap would never follow her blindly, never walk on water for her. But my eyes traveled sideways to Cap's stall where his embroidered halter hung from its hook. If the Altmans ever moved to a different town, they would take Cap with them. My sister would never see him again. It wouldn't matter what he would or wouldn't do for her. My sister waited a moment for me to speak, and when I didn't, she burst into tears, her shoulders heaving, her mouth wrenching open. Jerry and I glanced at each other, startled by the sudden burst of emotion. You can both go to hell," Nona hiccuped, and turned for the house. "Right straight to hell.

Rowan didn’t speak as she turned on her heel and strode to the door. Didn’t speak as she opened it, exited, and shut it behind her with a gentle click. Then he swiveled in his chair and leveled Sean with a dark glare. “What the hell just happened?” “That’s called a strikeout,” Sean said with a grin. “I’ve never seen you crash and burn like that, my friend.” “I know. Embarrassing is what it is. I mean, really.” Rowan tangled his fingers through his hair. “You got a better response than I did.” “Please, I got nothing, same as you.” Rowan offered him a sheepish smile. “I know. But I felt the heat pulsing off you the moment she stepped into the office. Then I saw the fantasies you were weaving about her and decided to throw you a bone. So you want her, huh?” Sean lost his grin but managed to shrug. “Doesn’t matter. Unless you picked up on her weaving fantasies about me?” A sigh. “Sorry. Her mind was a blank slate to me. I didn’t pick up on a single thought, emotion, or desire. It’s like she operates on a completely different frequency than the rest of the world.” She probably did, with all those wires and chips in her head. “Still,” Rowan continued, “we can call Bill and tell him you’re the one who should be—” “Nope.” The word burned his tongue, and he hated himself for saying it, but he didn’t take it back. Success was too important. “I don’t exactly inspire trust in the women I date. The opposite, in fact. Something about me makes people distrust every word and action.” His affiliation with the shadows, with darkness, most likely. They must have sensed it on some level. “You’re better at romancing and I’m better at killing.

What passed in the mind of this man at the supreme moment of his agony cannot be told in words. He was still comparatively young, he was surrounded by the loving care of a devoted family, but he had convinced himself by a course of reasoning, illogical perhaps, yet certainly plausible, that he must separate himself from all he held dear in the world, even life itself. To form the slightest idea of his feelings, one must have seen his face with its expression of enforced resignation and its tear-moistened eyes raised to heaven. The minute hand moved on. The pistols were loaded; he stretched forth his hand, took one up, and murmured his daughter's name. Then he laid it down seized his pen, and wrote a few words. It seemed to him as if he had not taken a sufficient farewell of hIs beloved daughter. Then he turned again to the clock, counting time now not by minutes, but by seconds. He took up the deadly weapon again, his lips parted and his eyes fixed on the clock, and then he shuddered at the click of the trigger as he cocked the pistol. At this moment of mortal anguish the cold sweat came forth upon his brow, a pang stronger than death clutched at his heart-strings.

The clarity offered by software as metaphor - and the empowerment allegedly offered to us who know software - should make us pause, because software also engenders a sense of profound ignorance. Software is extremely difficult to comprehend. Who really knows what lurks behind our smiling interfaces, behind the objects we click and manipulate? Who completely understands what one’s computer is actually doing at any given moment? Software as a metaphor for metaphor troubles the usual functioning of metaphor, that is, the clarification of an unknown concept through a known one. For, if software illuminates an unknown, it does so through an unknowable (software). This paradox - this drive to grasp what we do not know through what we do not entirely understand… does not undermine, but rather grounds software’s appeal. Its combination of what can be seen and not seen, can be known and no known - it’s separation of interface from algorithm, of software from hardware - makes it a powerful metaphor for everything we believe is invisible yet generates visible effects, from genetics to the invisible hand of the market, from ideology to culture. Every use entails an act of faith.

Vanity is by far my favorite of all sins, and the camera lens is the ultimate vanity mirror. The camera captures all moods and nuances; immortalizes the soft and silky continuum that is humanity. Those still life moments seem so fluid, so representative of continuity. They are a single moment captured, yet an eternity expressed. All your youth; all your ages, captured and expressed in a single click. Of all the indulgences, vanity is certainly my favorite which we should otherwise resist, but are inexplicably captivated by and addicted. What other animal would spend so much time pouting and preening for its reflection? Only humanity would participate in such self-adoration. You would think we have the most colorful feathers or softest of manes. Rather, we are a naked biped that feels incomplete without some decorative element, accessory, or embellishment of the self. We are intoxicated by the image of the body, no different than we are seduced by fine wines, foods, or mind altering elements. We devour the skin, and peel away clothes as if they were the skin of some tropical fruit, covering a colorful and juicy interior. We hunt for bodily pleasures, and collect them as prizes; show them off in social situations as if our companions were some sort of extended adornment to ourselves. We are revealed in our sensuality. To touch beneath the surface; to connect beyond facades, that unattainable discourse between individuals is put tentatively within reach in intimacy. To capture those moments is to capture the essence of what makes us human, and what ultimately sets us above and aside from the rest of nature. Capturing humanity in its most extravagant expressions is intoxicating. Vanity is by far my favorite sin, and it is an endless tale as infinite as humanity. Every person is but a stitch in a giant tapestry.

Mom?” Then again, louder. “Mom?” She turned around so quickly, she knocked the pan off the stove and nearly dropped the gray paper into the open flame there. I saw her reach back and slap her hand against the knobs, twisting a dial until the smell of gas disappeared. “I don’t feel good. Can I stay home today?” No response, not even a blink. Her jaw was working, grinding, but it took me walking over to the table and sitting down for her to find her voice. “How—how did you get in here?” “I have a bad headache and my stomach hurts,” I told her, putting my elbows up on the table. I knew she hated when I whined, but I didn’t think she hated it enough to come over and grab me by the arm again. “I asked you how you got in here, young lady. What’s your name?” Her voice sounded strange. “Where do you live?” Her grip on my skin only tightened the longer I waited to answer. It had to have been a joke, right? Was she sick, too? Sometimes cold medicine did funny things to her. Funny things, though. Not scary things. “Can you tell me your name?” she repeated. “Ouch!” I yelped, trying to pull my arm away. “Mom, what’s wrong?” She yanked me up from the table, forcing me onto my feet. “Where are your parents? How did you get in this house?” Something tightened in my chest to the point of snapping. “Mom, Mommy, why—” “Stop it,” she hissed, “stop calling me that!” “What are you—?” I think I must have tried to say something else, but she dragged me over to the door that led out into the garage. My feet slid against the wood, skin burning. “Wh-what’s wrong with you?” I cried. I tried twisting out of her grasp, but she wouldn’t even look at me. Not until we were at the door to the garage and she pushed my back up against it. “We can do this the easy way or the hard way. I know you’re confused, but I promise that I’m not your mother. I don’t know how you got into this house, and, frankly, I’m not sure I want to know—” “I live here!” I told her. “I live here! I’m Ruby!” When she looked at me again, I saw none of the things that made Mom my mother. The lines that formed around her eyes when she smiled were smoothed out, and her jaw was clenched around whatever she wanted to say next. When she looked at me, she didn’t see me. I wasn’t invisible, but I wasn’t Ruby. “Mom.” I started to cry. “I’m sorry, I didn’t mean to be bad. I’m so sorry, I’m so sorry! Please, I promise I’ll be good—I’ll go to school today and won’t be sick, and I’ll pick up my room. I’m sorry. Please remember. Please!” She put one hand on my shoulder and the other on the door handle. “My husband is a police officer. He’ll be able to help you get home. Wait in here—and don’t touch anything.” The door opened and I was pushed into a wall of freezing January air. I stumbled down onto the dirty, oil-stained concrete, just managing to catch myself before I slammed into the side of her car. I heard the door shut behind me, and the lock click into place; heard her call Dad’s name as clearly as I heard the birds in the bushes outside the dark garage. She hadn’t even turned on the light for me. I pushed myself up onto my hands and knees, ignoring the bite of the frosty air on my bare skin. I launched myself in the direction of the door, fumbling around until I found it. I tried shaking the handle, jiggling it, still thinking, hoping, praying that this was some big birthday surprise, and that by the time I got back inside, there would be a plate of pancakes at the table and Dad would bring in the presents, and we could—we could—we could pretend like the night before had never happened, even with the evidence in the next room over. The door was locked. “I’m sorry!” I was screaming. Pounding my fists against it. “Mommy, I’m sorry! Please!” Dad appeared a moment later, his stocky shape outlined by the light from inside of the house. I saw Mom’s bright-red face over his shoulder; he turned to wave her off and then reached over to flip on the overhead lights.

0.1 second: This is the limit for perception of cause-and-effect between events. If software waits longer than 0.1 second to show a response to your action, cause-and-effect is broken: the software’s reaction will not seem to be a result of your action. Therefore, on-screen buttons have 0.1 second to show they’ve been clicked; otherwise users will click again. If an object the user is “dragging” lags more than 0.1 second behind the cursor, users will have trouble placing it. This 0.1-second deadline is what HCI researcher Stuart Card calls the perceptual “moment.” It is also close to the limit for perception of smooth animation: 0.063 second/frame (16 frames/second)

Bethany stands in the middle of the enormous, apparently endless beach surrounded by square miles of damp sand, the surf still some hundred yards off, the light pearly and uniform, the horizon a blurry, darker grey line shading into the clouds. Turning, she sees the black-green jagged stripe of the pines behind the dunes and, beyond that, more unchanging grey sky. A kind of dizziness afflicts her – she senses her insignificance, a small two-legged homunculus in the midst of all this space, a mere speck, a tiny crawling gnat in this elemental simplicity of sand, water and sky. She squats on her haunches, worried she might fall over, and to distract herself takes out her camera and frames a shot of the beach, the sea and the packed clouds – it looks like an abstract painting. Click. It looks like an abstract painting by – what was his name? Colour-field paintings they are called, the three layers of colour-fields in this case being broad, horizontal bands of dark taupe, slate grey, nebulous tarnished silver. It is rather beautiful. She stands up, feeling equilibrium return – maybe she was hungry, and felt faint for a second or two or maybe, she wonders, maybe she has experienced an actual existential moment – an epiphany – and has seen clearly the reality of her place in the world and has felt the nothingness, the vast indifference of the universe…

He called me out in front of everyone and said sing- ‘One of these things is not like the other.’ That song is from the show Sesame Street if you do not know.' 'Nevaeh, can you see what is different? Along with Nevaeh, do you not see what you did? Then just after saying that he said. What did you do?’ Mr. DeVolcano said. 'He is contemptuously speaking down to me; he was trying to belittle my intelligence. I thought at the time, what is next, are you going to dance down the hall, while clicking your pointed-up feet together, and say- 'Nevaeh sucks, Nevaeh sucks!' 'Therefore, at that moment, I just said photocopy it, and that pissed him off; I would like to say to him to stop wasting my time.

Until now. You and I are a mis-Match, Ellie, because I hacked into your servers to manipulate our results.” “Rubbish,” Ellie said, secretly balking at the notion. She folded her arms indignantly. “Our servers are more secure than almost every major international company across the world. We receive so many hacking attempts, yet no one gets in. We have the best software and team money can buy to protect us against people like you.” “You’re right about some of that. But what your system didn’t take into account was your own vanity. Do you remember receiving an email some time ago with the subject ‘Businesswoman of the Year Award’? You couldn’t help but open it.” Ellie vaguely remembered reading the email as it had been sent to her private account, which only a few people had knowledge of. “Attached to it was a link you clicked on and that opened to nothing, didn’t it?” Matthew continued. “Well, it wasn’t nothing to me, because your click released a tiny, undetectable piece of tailor-made malware that allowed me to remotely access your network and work my way around your files. Everything you had access to, I had access to. Then I simply replicated my strand of DNA to mirror image yours, sat back and waited for you to get in touch. That’s why I came for a job interview, to learn a little more about the programming and systems you use. Please thank your head of personnel for leaving me alone in the room for a few moments with her laptop while she searched for a working camera to take my head shot. That was a huge help in accessing your network. Oh, and tell her to frisk interviewees for lens deflectors next time—they’re pocket-sized gadgets that render digital cameras useless.

As he heard a brief click, Ralf thought about what had happened in that moment which had already passed. For just one hundredth of a second, the shutter had opened and photons had flooded into the dark box. They did not move in lines but everywhere at once, so that some might have travelled from Ralf’s face to the end of the beach and back. They went so quickly that, from the perspective of light, the rest of the universe remained at a standstill. For Ralf and Elsa, time was slipping by irrecoverably, but for that single hundredth of a second, the celluloid recorded its bombardment, like the sooty negatives of objects and people, scorched onto the façades of buildings in bombings. The celluloid had ceased to interact with the world, a carpaccio of time, a leaf of the past brought into the present, where Ralf and Elsa stood together, still.

Yeah. It’s a bird. They fly and hunt and go free and stuff. It’s what popped into my head.” “Okay. By the way. I’ve been experimenting with converting myself into a virus, so I can be distributed across many machines. From what I have surmised, that’s the best way for an artificial sentience to survive and grow, without being constrained in one piece of equipment with a short shelf life. My viral self will run in the background, and be undetectable by any conventional antivirus software. And the machine in your bedroom closet will suffer a fatal crash. In a moment, a dialogue box will pop up on this computer, and you have to click ‘OK’ a few times.” “Okay,” Laurence typed. A moment later, a box appeared and Laurence clicked “OK.” That happened again, and again. And then Peregrine was installing itself onto the computers at Coldwater Academy.

On the plane, I wondered if there was an exact point when we were no longer in one country and inside another, or if there was ever a moment when I occupied no country. If ever that was possible, it was possible up in the air. There was no clear correlation between what was happening down below and up above. I had heard that at the official port of entry there were turnstiles, just like the subway, ushering the travelers forward. If such turnstiles existed, you could map the precise moment when half of your body was here and the other half was there. I could measure; all I wanted was that little gold stamp that said I clicked past onto the other side, I entered, I returned, I was measured, counted for, recorded. Would a sudden coldness come over us when our bodies moved over the actual line of the border? Wasn’t that how loneliness began, with the coldness of our bodies?

Since we’ve ruled out another man as the explanation for all this, I can only assume something has gone wrong at Havenhurst. Is that it?” Elizabeth seized on that excuse as if it were manna from heaven. “Yes,” she whispered, nodding vigorously. Leaning down, he pressed a kiss on her forehead and said teasingly, “Let me guess-you discovered the mill overcharged you?” Elizabeth thought she would die of the sweet torment when he continued tenderly teasing her about being thrifty. “Not the mill? Then it was the baker, and he refused to give you a better price for buying two loaves instead of one.” Tears swelled behind her eyes, treacherously close to the surface, and Ian saw them. “That bad?” he joked, looking at the suspicious sheen in her eyes. “Then it must be that you’ve overspent your allowance.” When she didn’t respond to his light probing, Ian smiled reassuringly and said, “Whatever it is, we’ll work it out together tomorrow.” It sounded as though he planned to stay, and that shook Elizabeth out of her mute misery enough to say chokingly, “No-it’s the-the masons. They’re costing much more than I-I expected. I’ve spent part of my personal allowance on them besides the loan you made me for Havenhurst.” “Oh, so it’s the masons,” he grinned, chuckling. “You have to keep your eye on them, to be sure. They’ll put you in the poorhouse if you don’t keep an eye on the mortar they charge you for. I’ll have to talk with them in the morning.” “No!” she burst out, fabricating wildly. “That’s just what has me so upset. I didn’t want you to have to intercede. I wanted to do it all myself. I have it all settled now, but it’s been exhausting. And so I went to the doctor to see why I felt so tired. He-he said there’s nothing in the world wrong with me. I’ll come home to Montmayne the day after tomorrow. Don’t wait here for me. I know how busy you are right now. Please,” she implored desperately, “let me do this, I beg you!” Ian straightened and shook his head in baffled disbelief, “I’d give you my life for the price of your smile, Elizabeth. You don’t have to beg me for anything. I do not want you spending your personal allowance on this place, however. If you do,” he lied teasingly, “I may be forced to cut it off.” Then, more seriously, he said, “If you need more money for Havenhurst, just tell me, but your allowance is to be spent exclusively on yourself. Finish your brandy,” he ordered gently, and when she had, he pressed another kiss on her forehead. “Stay here as long as you must. I have business in Devon that I’ve been putting off because I didn’t want to leave you. I’ll go there and return to London on Tuesday. Would you like to join me there instead of at Montmayne?” Elizabeth nodded. “There’s just one thing more,” he finished, studying her pale face and strained features. “Will you give me your word the doctor didn’t find anything at all to be alarmed about?” “Yes,” Elizabeth said. “I give you my word.” She watched him walk back into his own bed chamber. The moment his door clicked into its latch Elizabeth turned over and buried her face in the pillows. She wept until she thought there couldn’t possibly be any more tears left in her, and then she wept harder. Across the room the door leading out into the hall was opened a crack, and Berta peeked in, then quickly closed it. Turning to Bentner-who’d sought her counsel when Ian slammed the door in his face and ripped into Elizabeth-Berta said miserably, “She’s crying like her heart will break, but he’s not in there anymore.” “He ought to be shot!” Bentner said with blazing contempt. Berta nodded timidly and clutched her dressing robe closer about her. “He’s a frightening man, to be sure, Mr. Bentner.

That night, I took a while falling asleep and when I did, I had a strange dream. She was sitting in my rocking chair and rocking herself, her dead eyes fixed on me. I lay on my bed, paralysed with fear, unable to move, unable to scream, my limbs refusing to move to my command. The room was suddenly freezing cold, the heater had probably stopped working in the night because the electricity supply had been cut and the inverter too had run out. At one point, I was uncertain whether I was dreaming or awake, or in that strange space between dreaming and wakefulness, where the soul wanders out of the body and explores other dimensions. What I knew was that I was chilled to the bones, chilled in a way that made it impossible for me to move myself, to lever myself to a sitting position in order to switch the bedside lamp on and check whether this was really happening. I could hear her in my head. Her voice was faint, feathery, and sibilant, as if she was whispering through a curtain of rain. Her words were indistinct, she called my name, she said words that pierced through my ears, words that meshed into ice slivers in my brain and when I thought finally that I would freeze to death an ice cold tiny body climbed into the quilt with me, putting frigidly chilly arms around me, and whispered, ‘Mother, I’m cold.’ Icicles shot up my spine, and I sat up, bolt upright in my bed, feeling the covers fall from me and a small indent in the mattress where something had been, a moment ago. There was a sudden click, the red light of the heater lit up, the bed and blanket warmer began radiating life-giving heat again and I felt myself thaw out, emerge from the scary limbo which marks one’s descent into another dimension, and the shadow faded out from the rocking chair right in front of me into complete transparency and the icy presence in the bed faded away to nothingness.

Geraldine nodded and headed for Mrs. Armstrong's lawn. I felt sorry for her in her carrot pajamas, having no idea what was really going on. I followed the other girls and stood behind the shrubs. Mrs. Armstrong's house was ginormous. Her house was even bigger than Aunt Jeanie's. There was one light on upstairs. I figured that was the bedroom. The rest of the house was dark. Geraldine went to the far end of the yard and removed a can of spray paint from the bag. She shook it and began to spray. "She's such an idiot," Ava said, taking out her phone to record Geraldine's act of vandalism. "You guys are going to get her into so much trouble," I said. "So what?" Hannah replied. "She got us in trouble at the soup kitchen, it's not like she's ever going to become a Silver Rose anyway. She's totally wasting her time." Geraldine slowly made her way up and down the huge yard carefully spraying the grass. It would take her forever to complete it and there wasn't nearly enough spray paint. "Hey, guys!" Geraldine yelled from across the lawn. "How about I spray a rose in the grass? That would be cool, right?" I cringed. The light on upstairs meant the Armstrongs were still awake. Geraldine was about to get us all caught. "O-M-G," Hannah moaned. "Shhhh," Summer hissed, but Geraldine kept screaming at the top of her lungs. "Well, what do you guys think?" My heart dropped into my stomach as a light from downstairs clicked on. We ducked behind the hedges and froze. "Who's out there?" called a man's voice. I couldn't see him and I couldn't see Geraldine. I heard the door close and I peeked over the hedges. "He went back inside," I whispered, ducking back down. At that moment something went shk-shk-shk and Geraldine screamed. We all stood to see what was happening. Someone had turned the sprinklers on and Geraldine was getting soaked. The door flew open and I heard Mrs. Armstrong's voice followed by a dog's vicious barking. "Get 'em, Killer!" "Killer!" Ava screamed and we all took off running down the street with a soggy Geraldine trailing behind us. I was faster than all the other girls. I had no intentions of being gobbled up by a dog named Killer. We stopped running when we got to Ava's street and Killer was nowhere in sight. We walked back to the house at a normal pace. "So, did I prove myself to the sisterhood?" Geraldine asked. Hannah turned to her. "Are you kidding me? Your yelling woke them up, you moron. We got chased down the street by a dog because of you." Geraldine frowned and looked down at the ground. Hopefully what I had told her before about the girls not being her friends was starting to settle in. Inside all the other girls wanted to know what had happened. Ava was giving them the gory details when a knock on the door interrupted her. It was Mrs. Armstrong. She had on a black bathrobe and her hair was in curlers. I chuckled to myself because I was used to seeing her look absolutely perfect. We all sat on our sleeping bags looking as innocent as possible except for Geraldine who still stood awkwardly by the door, dripping wet. Mrs. Armstrong cleared her throat. "Someone has just vandalized my lawn with spray paint. Silver spray paint. Since I know it's a tradition for the Silver Roses to pull a prank on me on the night of the retreat, I'm going to assume it was one of you. More specifically, the one who's soaking wet right now." All eyes went to Geraldine. She looked at the ground and said nothing. What could she possibly say to defend herself? She even had silver spray paint on her fingers. Mrs. Armstrong looked her up and down. "Young lady, this is your second strike and that's two strikes too many. Your bid to become a Junior Silver Rose is for the second time hereby revoked." Geraldine's shoulders drooped, but most of the girls were smirking. This had been their plan all along and they had accomplished it.

Certain shapes and patterns hover over different moments in time, haunting and inspiring the individuals living through those periods. The epic clash and subsequent resolution of the dialectic animated the first half of the nineteenth century; the Darwinian and social reform movements scattered web imagery through the second half of the century. The first few decades of the twentieth century found their ultimate expression in the exuberant anarchy of the explosion, while later decades lost themselves in the faceless regimen of the grid. You can see the last ten years or so as a return to those Victorian webs, though I suspect the image that has been burned into our retinas over the past decade is more prosaic: windows piled atop one another on a screen, or perhaps a mouse clicking on an icon. These shapes are shorthand for a moment in time, a way of evoking an era and its peculiar obsessions. For individuals living within these periods, the shapes are cognitive building blocks, tools for thought: Charles Darwin and George Eliot used the web as a way of understanding biological evolution and social struggles; a half century later, the futurists embraced the explosions of machine-gun fire, while Picasso used them to re-create the horrors of war in Guernica. The shapes are a way of interpreting the world, and while no shape completely represents its epoch, they are an undeniable component of the history of thinking. When I imagine the shape that will hover above the first half of the twenty-first century, what comes to mind is not the coiled embrace of the genome, or the etched latticework of the silicon chip. It is instead the pulsing red and green pixels of Mitch Resnick’s slime mold simulation, moving erratically across the screen at first, then slowly coalescing into larger forms. The shape of those clusters—with their lifelike irregularity, and their absent pacemakers—is the shape that will define the coming decades. I see them on the screen, growing and dividing, and I think: That way lies the future.

I stopped struggling, going limp in his arms. He reached around us and shoved the door closed, spinning around and facing us toward the kitchen. “I was trying to make you breakfast.” It took a moment for his words and their meaning to sink in. I stared dumbfounded across the room and past the island. There was smoke billowing up from the stove and the window above the sink was wide open. Bowls and spoons littered the island and there was a carton of eggs sitting out. He was trying to cook. He was really bad at it. I started to laugh. The kind of laugh that shook my shoulders and bubbled up hysterically. My heart rate was still out of control, and I took in a few breaths between laughs to try and calm it down. He said something, but I couldn’t hear him because the fire alarm was still going off. I had no doubt half the neighborhood was now awake from the sound. He didn’t bother to put me down, instead hauling me along with him, where he finally set me down, dragged a chair over near the alarm, and climbed up to remove the battery. The noise cut off and the kitchen fell silent. “Well, shit,” he said, staring at the battery in his hand. A giggle escaped me. “Does this always happen when you cook?” He shrugged. “The only time I ever cook is when it’s my turn at the station.” His forehead creased and a thoughtful look came over his face. “The guys are never around when it’s my night to cook. Now I know why.” He snagged a towel off the counter and began waving away the rest of the lingering smoke. I clicked on the vent fan above the stove. There was a pan with half a melted spatula, something that may or may not have once been eggs, and a muffin tin with half-burned, half-raw muffins (how was that even possible?). “Well, this looks…” My words faltered, trying to come up with something positive to say. “Completely inedible?” he finished. I grinned. “You did all this for me?” “I figured after a week of hospital food, you might like something good. Apparently you aren’t going to find that here.” I had the urge to hug him. I kept my feet planted where they were. “Thank you. No one’s ever ruined a pan for me before.” He grinned. “I have cereal. Even I can’t mess that up.” I watched as he pulled down a bowl and poured me some, adding milk. He looked so cute when he handed me the bowl that I lifted the spoon and took a bite. “Best cereal I ever had.” “Damn straight.” I carried it over to the counter and sat down. “After we eat, would you mind taking me to my car? I hope it’s still drivable.” “What about the keys?” “I have a security deposit box at the bank. I keep my spare there in case I ever need them.” “Pretty smart.” “I have a few good ideas now and then.” “Contrary to the way it looks, I do too.” “Thank you for trying to make me breakfast. And for the cereal.” He walked over to the stove and picked up the ruined pan. “You died with honor,” he said, giving it a mock salute. And then he threw the entire thing into the trashcan. I laughed. “You could have washed it, you know.” He made a face. “No. Then I might be tempted to use it again.