Clock Tower Quotes

He thought back on his family with deep emotion and love. His conviction that he would have to disappear was, if possible, even firmer than his sister's. He remained in this state of empty and peaceful reflection until the tower clock struck three in the morning. He still saw that outside the window everything was beginning to grow light. Then, without his consent, his head sank down to the floor, and from his nostrils streamed his last weak breath.

The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.

In the Land of Memory the time is always Now. In the Kingdom of Ago, the clocks tick... but their hands never move. There is an Unfound Door (O lost) and memory is the key which opens it.

I have always been absurdly, ridiculously tall. To give you an idea- when we went on school trips to Interesting and Improving Places, the form-master wouldn't say "Meet under the clock tower," or "Meet under the War Memorial," but "Meet under Adams.

He points to the clock tower that sits in the middle of the town square, the moon and stars shimmering in the background. “Straight on ‘til morning.

I wanted to go back to a time before all the sacrifices had been made. Before I had experienced so much pain. But making things right could not mean rewinding the clock. Even Kronos hadn't had that much power over time. I suspected that wasn't what Jason Grace would want, either. When he'd told me to remember being human, he'd meant building on pain and tragedy, overcoming it, learning from it. That was something gods never did. We just complained. To be human is to move forward, to adapt, to believe in your ability to make things better. That is the only way to make the pain and sacrifice mean something.

I can't imagine what you must think of me...And I don't expect you've forgiven me. Still, selfishly I have to ask you - are you glad I made you get out of the car? Was I right right? Was everything you felt for me on account of my manipulation? If so, please know I am deeply sorry. that I will NEVER bother you again - I swear you'll never have cause to fear me. But if I was wrong. If you still care for me - meet me? Paceo de colon, San Sebastia tower eight o' clock tonight -c

As she walked, clock towers across Prague started arguing midnight, and the long, fraught Monday came at last to a close.

The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream.

The clock in the church tower said 4.32, as it had done for three hundred years. It was right once a day and that was better than no clock at all.

When people asked about his schizophrenia, Eric, who didn’t exactly flaunt his illness but wasn’t ashamed of it, either, offered up the comparison of alcoholism. Not every drunk is a single bourbon away from skid row, just like every schizophrenic is not a tatty-haired, crazy-eyed gunman who delights in murdering alien-people from clock towers. There are functioning alcoholics just as there are functioning schizophrenics, individuals who work, maintain homes, and have hobbies, goals, and relationships like every other slob on the planet.

From where you are you can hear in Cockle Row in the spring, moonless night, Miss Price, dressmaker and sweetshop-keeper, dream of her lover, tall as the town clock tower, Samson syrup-gold-maned, whacking thighed and piping hot, thunderbolt-bass'd and barnacle-breasted, flailing up the cockles with his eyes like blowlamps and scooping low over her lonely loving hotwaterbottled body.

In order to elucidate especially and most clearly the origination of this error (...) let us imagine a man who, while standing on the street, would say to himself: "It is six o'clock in the evening, the working day is over. Now I can go for a walk, or I can go to the club; I can also climb up the tower to see the sunset; I can go to the theater; I can visit this friend or that one; indeed, I also can run out of the gate, into the wide world, and never return. All of this is strictly up to me, in this I have complete freedom. But still I shall do none of these things now , but with just as free a will I shall go home to my wife". This is exactly as if water spoke to itself: "I can make high waves (yes! in the sea during a storm), I can rush down hill (yes! in the river bed), I can plunge down foaming and gushing (yes! in the waterfall), I can rise freely as a stream of water into the air (yes! in the fountain), I can, finally boil away and disappear (yes! at a certain temperature); but I am doing none of these things now, and am voluntaringly remaining quiet and clear water in the reflecting pond.

And there was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-tilted streetlight; a frozen clock, bird-visited within its high tower; cold water from a tin jug; toweling off one’s clinging shirt post–June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone’s kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease.

One day, all those who love in the society of Auld Lang Syne shall meet again. In the New City of the Burning Heart, there, the veil will drop. The arc of the seas shall finally know the skies. Day and night shall end. The clock tower will crumble. Time shall fly to the place of no more. For we were born for meaning. We were born to love. There, we shall all be together with all the lovelies ever known who chose mercy and kindness amidst the forget-me-nots and the countless stars.

We have big dreams - sometimes scary, unforgettable dreams that repeat on the same date every year and are shared by every person in town - but we make those big dreams come true. Remember the clock tower? It took eight years and $23 million to build, and despite its invisibility and constant teleportation, it is a lovely structure that keeps impeccable time.

There was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-titled streetlight; a frozen clock, a bird visited within its high tower; cold water from a tin jug; towering off one’s clinging shirt post-June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone’s kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease. A bloody ross death-red on a platter; a headgetop under-hand as you flee late to some chalk-and-woodfire-smelling schoolhouse. Geese above, clover below, the sound of one’s own breath when winded. The way a moistness in the eye will blur a field of stars; the sore place on the shoulder a resting toboggan makes; writing one’s beloved’s name upon a frosted window with a gloved finger. Tying a shoe; tying a knot on a package; a mouth on yours; a hand on yours; the ending of the day; the beginning of the day; the feeling that there will always be a day ahead. Goodbye, I must now say goodbye to all of it. Loon-call in the dark; calf-cramp in the spring; neck-rub in the parlour; milk-sip at end of day. Some brandy-legged dog proudly back-ploughs the grass to cover its modest shit; a cloud-mass down-valley breaks apart over the course of a brandy-deepened hour; louvered blinds yield dusty beneath your dragging finger, and it is nearly noon and you must decide; you have seen what you have seen, and it has wounded you, and it seems you have only one choice left. Blood-stained porcelain bowl wobbles face down on wood floor; orange peel not at all stirred by disbelieving last breath there among that fine summer dust-layer, fatal knife set down in pass-panic on familiar wobbly banister, later dropped (thrown) by Mother (dear Mother) (heartsick) into the slow-flowing, chocolate-brown Potomac. None of it was real; nothing was real. Everything was real; inconceivably real, infinitely dear. These and all things started as nothing, latent within a vast energy-broth, but then we named them, and loved them, and in this way, brought them forth. And now we must lose them. I send this out to you, dear friends, before I go, in this instantaneous thought-burst, from a place where time slows and then stops and we may live forever in a single instant. Goodbye goodbye good-

When I was little, my brother drew an image for me on the train ride home from the academy. It was a map of Internment, only instead of the real city, he'd drawn a castle for the clock tower. And the buildings were all different somehow. Mysterious. And right at the edge he drew a ladder that went down and disappeared into the clouds. It was the most spectacular thing I'd ever seen, and getting ready for my bath that night, I discovered it had fallen from a hole on my skirt pocket. I wanted to go out and look for it, but my mother told me the sweepers had already come. The paper would be collected with all the other forgotten-about things and it would be compressed and recycled into something new. I looked for it the next day, anyway, to no avail. I couldn't believe such a wonderful thing could be destroyed so simply. I learned that it could. Anything could be destroyed.

On the second or third day, sometime in the early evening, I walked from the splashing fountains and giant lions of Trafalgar Square, past the famous door of 10 Downing Street, and then, suddenly, when I turned the corner, I was face-to-face with Big Ben. I found myself just standing there, gazing up into the rare blue sky at this magnificent clock tower that gleamed in the sunlight. I couldn’t look away. Because all at once everything in my crazy heart and mind seemed to fall into place. Right in front of me was all the glory and sparkle that I knew my London life was going to be once I figured out how to grab on to it.

When we were only several hundred-thousand years old, we built stone circles, water clocks. Later, someone forged an iron spring, set clockwork running, imagined grid-lines on a globe. Cathedrals are like machines defining the soul; bells of clock towers stitch the sleeper’s dreams together. You see? So we’ve always been on our way to this new place ― that is no place, really ― but is real. It’s our nature to represent: we’re the animal that represents, the sole and only maker of maps. And if our weakness has been to confuse the bright and bloody colors of our calendars with the true weather of days, and the parchment’s territory of our maps with the lands spread out before us ― never mind. We've always been on our way to this new place ― that is no place, really ― but is real.

Sunflowers hellos from gate to gate. The hour at the square. Candy, art, books, look. A warmth given. Beauties with rain forest hair Walk by the clock tower. Sunlight of neon, the keys inside their eyes. No storms. Traffic sounds, salt air. Salt that moves the thirst and destroys all the fears.

He points to the clock tower that sits in the middle of the town square, the moon and stars shimmering in the background. "Straight on 'til morning." My head tilts. "What's that mean?" His arm wraps around my shoulders, bringing me in close. "That means you don't quit until you get what you want. Even if takes all damn night. Understand?

I tear the edge from the crust and nod toward the church’s tower. “Check out that old clock,” I say. “Don’t set your watch to it,” Poppy says, dabbing her lips with her napkin. She turns to Lucy. “Like many things in life, it’s attractive and flashy, but notoriously unreliable.

In the Land of Memory, the time is always Now. In the Kingdom of Ago, the clocks tick . . . but their hands never move. There is an Unfound Door (O lost) and memory is the key which opens it.

He is as good as anybody in this parish! He is very particular, too, about going to church-yes, he is!' 'I am afeard nobody ever saw him there. I never did, certainly.' 'The reason of that is,' she said eagerly, 'that he goes in privately by the old tower door, just when the service commences, and sits at the back of the gallery. He told me so.' This supreme instance of Troy's goodness fell upon Gabriel's ears like the thirteenth stroke of a crazy clock. It was not only received with utter incredulity as regarded itself, but threw doubt on all the assurances that had preceded it.

The reason of that is," she said eagerly, "that he goes in privately by the old tower door, just when the service commences, and sits at the back of the gallery. He told me so." This supreme instance of Troy's goodness fell upon Gabriel ears like the thirteenth stroke of crazy clock. It was not only received with utter incredulity as regarded itself, but threw a doubt on all the assurances that had preceded it.

I can still catch the fragrance of many things which stir me with feelings of melancholy and send delicious shivers of delight through me - dark and sunlit streets, houses and towers, clock chimes and people’s faces, rooms full of comfort and warm hospitality, rooms full of secret and profound, ghostly fears. It is a world that savours of warm corners, rabbits, servant girls, household remedies and dried fruit. It was the meeting-place of two worlds; day and night came thither from two opposite poles.

In the East, he then believed, a man went to college not for vocational training but in disciplined search for wisdom and beauty, and nobody over the age of twelve believed that those words were for sissies. In the East, wearing rumpled tweeds and flannels, he could have strolled for hours among ancient elms and clock towers, talking with his friends, and his friends would have been the cream of their generation. The girls of the East were marvelously slim and graceful; they moved with the authority of places like Bennington and Holyoke; they spoke intelligently in low, subtle voices, and they never giggled. On sharp winter evenings you could meet them for cocktails at the Biltmore and take them to the theater, and afterwards, warmed with brandy, they would come with you for a drive to a snowbound New England inn, where they’d slip happily into bed with you under an eiderdown quilt. In the East, when college was over, you could put off going seriously to work until you’d spent a few years in a book-lined bachelor flat, with intervals of European travel, and when you found your true vocation at last it was through a process of informed and unhurried selection; just as when you married at last it was to solemnize the last and best of your many long, sophisticated affairs.

Clara became so immersed in her “made-up” life that she almost began to believe she was the smart, strong, kind girl beloved by classmates who ran here and there boldly and with complete freedom. Then the clock tower struck eight o’clock and broke the spell.

The clocks were striking midnight at different places all over the town as I stepped through the door of my college. The rain had cleared. Moonlight gave the grass and towers an air of unreality, as if all would be removed in the morning to make way for another scene.

Stuck up rich bitches, he thought. As he reached the brow of the hill, the clock tower of the Horniman Museum appeared through the bare branches of the elm trees. Snow had spattered against its smooth yellow sandstone bricks, sticking like clumps of wet toilet tissue.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

If. If Mingus Rude could be kept in this place, kept somehow in Dylan's pocket, in his stinging, smudgy hands, then summer wouldn't give way to whatever came after. If. If. Fat chance. Summer on Dean Street had lasted one day and that day was over, it was dark out, had been for hours. The Williamsburg Savings Bank tower clock read nine-thirty in red-and-blue neon. Final score, a million to nothing. The million-dollar kid. Your school wasn't on fire, you were.

Something as real as a tectonic shift might be happening in their magnificent soul, like the mechanism of a primal clock ticking closer and closer to the triumphant sounding of the bell tower, a revelation, a scattering of birds that gives them an apocalyptic glimpse of something more something lofty, and grand that reminds them how small they are, or perhaps something minuscule and profoundly intricate that reminds them of the grand mystery of their selfhood.

You’re quoted as saying, ‘The bad news is, we won’t get much sleep tonight; the good news is, we get to kill people.’” She paused, as if waiting for me to disavow the quote. I was silent, and she went on. “We have a retired Army officer on our staff, and he warned me that there are people who enjoy killing, and they aren’t nice to be around. Could you please explain your quote for me?” “No, I cannot.” “Well, do you really feel that way?” Her tone was earnest, almost pleading. “You mean, will I climb your clock tower and pick people off with a hunting rifle?” It was her turn to be silent. “No, I will not. Do I feel compelled to explain myself to you? I don’t.

He points to the clock tower that sits in the middle of the town square, the moon and stars shimmering in the background. “Straight on ’til morning.” My head tilts. “What’s that mean?” His arm wraps around my shoulders, bringing me in close. “That means you don’t quit until you get what you want. Even if it takes all damn night. Understand?

When the townsfolk emerged from their homes a couple of hours later to raise their faces to the golden sun rising briefly above the distant mountains, they were greeted not with the usual whisper of falling snow, but with clanks and thumps and what may have been Gallifreyan swearwords drifting from the upper section of the Clock Tower. Distracted

In the Land of Memory, the time is always Now. In the Kingdom of Ago, the clocks tick . . . but their hands never move. There

In the Kingdom of Ago, the clocks tick . . . but their hands never move.

After some time, twelve o'clock boomed from the tall tower at Westminster, and yet at each stroke of the sonorous bell the night seemed to tremble.

And there was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-tilted streetlight; a frozen clock, bird-visited within its high tower; cold water from a tin jug; toweling off one’s clinging shirt post–June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone’s kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease. A bloody roast death-red on a platter; a hedgetop under-hand as you flee late to some chalk-and-woodfire-smelling schoolhouse. Geese above, clover below, the sound of one’s own breath when winded. The way a moistness in the eye will blur a field of stars; the sore place on the shoulder a resting toboggan makes; writing one’s beloved’s name upon a frosted window with a gloved finger. Tying a shoe; tying a knot on a package; a mouth on yours; a hand on yours; the ending of the day; the beginning of the day; the feeling that there will always be a day ahead.

Aerial bombardment is likely between the hours of eight and ten of the clock. All noncombatant residents should report to their designated shelters. Bring your gas masks. Repeat, bring your gas masks.

come to a stop in front of the most prominent structure, a clock tower with no clock. There is a painted-on clock face. “It’s odd here,” says Korede. “Every hour someone climbs the belfry and paints the correct time. There is no bell in the belfry, but a rod with a loop of wrought iron marks the spot where one might have hung. There is a strict rota for this, adhered to quite rigidly by the townsfolk.

It is within your power to release yourself from mortal bonds. To be free of them.” “What? I don’t need to worry about the cold?” “Nope.” “Right.” She stuffed icy hands into the pockets of her jeans. “And apple strudel?” “Mind over matter.” A reluctant smile found her face. “Well, we’ve already established that you can breathe for me.” “Don’t underestimate yourself.” Daniel smiled back briefly. “This has to do more with you than me. Try it: Tell yourself that you are not cold, not hungry, not tired.” “All right.” Luce sighed. “I am not…” She’d started to mumble, disbelieving, but then she caught Daniel’s eye. Daniel, who believed she could do things she never thought she was capable of, who believed that her will meant the difference between having the halo and letting it slip away. She was holding it in her hands. Proof. Now he was telling her she had mortal needs only because she thought she did. She decided to give this crazy idea a try. She straightened her shoulders. She projected the words into the misty dusk. “I, Lucinda Price, am not cold, not hungry, not tired.” The wind blew, and the clock tower in the distance struck five-and something lifted off her so that she didn’t feel depleted anymore. She felt rested, equipped for whatever the night called for, determined to succeed. “Nice touch, Lucinda Price,” Daniel said. “Five senses transcended at five o’clock.” She reached for his wing, wrapped herself in it, let its warmth spread through her. This time, the weight of his wing welcomed her into a powerful new dimension. “I can do this.” Daniel’s lips brushed the top of her head. “I know.

Jake: This thing runs but cannot walk, sometimes sings but never talks. Lacks arms, has hands; lacks a head but has a face. What is it, Blaine? Blaine: A CLOCK. Jake: (whispering, lips compressing) Shit.

Motivation, inspiration were not the problem; on the contrary I was always cheerful and workmanlike at the typewriter and had never suffered from what’s called writer’s block; I didn’t believe in it. The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.

The intention was to build an illusion—a clock-tower that people could look at . . . but one you could fly a plane through, if it came to that. In other words, they intended to project a gigantic magic-lantern slide in the sky.

For Raintree County is not the country of the perishable fact. It is the country of the enduring fiction. The clock in the Court House Tower on page five of the "Raintree County Atlas" is always fixed at nine o'clock, and it is summer and the days are long.

Shortly before five o’clock, Mayor Thorin woke from a terrible dream. In it, a bird with pink eyes had been cruising slowly back and forth above the Barony. Wherever its shadow fell, the grass turned yellow, the leaves fell shocked from the trees, and the crops died. The shadow was turning his green and pleasant Barony into a waste land. It may be my Barony, but it’s my bird, too, he thought just before awakening, huddled into a shuddery ball on one side of his bed. My bird, I brought it here, I let it out of its cage.

Don’t you dare to squeeze that sponge over me,’ she began angrily. ‘This beastly getting up early! Why, at home . . .’ ‘Why, at home, “We don’t get up till eight o’clock,”’ chanted some of the girls, and laughed. They knew Gwendoline Mary’s complaints by heart now.

Again on Rose Hill with all the familiar sounds, sights and smells, dank gymnasium office, trainer Jake’s old barber chair, the Keating Hall clock tower, Jesuits in cassocks clucking along, lunches of linguine and calamari on Arthur Avenue, leaves and mud on the practice field, thud and smack of leather upon leather as dusk enveloped the Bronx, maroon and gold, we do or die notes drifting over from band rehearsal—Lombardi was in his element, restored. Football as religion. The T a catechism from which he preached. And God was in the details.

Victoria sighed deeply as the clock tower bell chimed midnight. Light snowflakes, almost weightless, began drifting down from the sky. Tiny, white butterflies danced in the wind among the bare trees. The two young people turned their eyes up towards the dark sky. "The fairies are weeping," she whispered. "What?" asked Ted, looking back at her. Victoria turned her grey eyes back at him and smiled. "In the lands of the north they say that when snowflakes fall at midnight, they are the tears of fairies falling on the ground. The fairies are weeping.

I was determined to know beans. When they were growing, I used to hoe from five o'clock in the morning till noon, and commonly spent the rest of the day about other affairs. Consider the intimate and curious acquaintance one makes with various kinds of weeds—it will bear some iteration in the account, for there was no little iteration in the labor—disturbing their delicate organizations so ruthlessly, and making such invidious distinctions with his hoe, levelling whole ranks of one species, and sedulously cultivating another. That's Roman wormwood—that's pigweed—that's sorrel—that's piper-grass—have at him, chop him up, turn his roots upward to the sun, don't let him have a fibre in the shade, if you do he'll turn himself t' other side up and be as green as a leek in two days. A long war, not with cranes, but with weeds, those Trojans who had sun and rain and dews on their side. Daily the beans saw me come to their rescue armed with a hoe, and thin the ranks of their enemies, filling up the trenches with weedy dead. Many a lusty crest—waving Hector, that towered a whole foot above his crowding comrades, fell before my weapon and rolled in the dust.

Through the window I looked across the oil-black Tigris at the Green Zone, lit up like Disneyland in Dystopia. I thought about J.G. Ballard's novel High Rise, where a state-of-the-art London tower block is the vertical stage for civilization to unpeel itself until nothing but primal violence remains.

Now burst above the city's cold twilight The piercing whistles and the tower-clocks: For day is done. Along the frozen docks The workmen set their ragged shirts aright. Thro' factory doors a stream of dingy light Follows the scrimmage as it quickly flocks To hut and home among the snow's gray blocks. -- I love you, human labourers. Good-night! Good-night to all the blackened arms that ache! Good-night to every sick and sweated brow, To the poor girl that strength and love forsake, To the poor boy who can no more! I vow The victim soon shall shudder at the stake And fall in blood: we bring him even now.

I’ll need a deposit, of course. I think that’s where your ring comes in handy.” Ira extended his open hand toward Camille. She took off the sapphire and slapped it into his palm. “And McGreenery?” Oscar asked. Ira nodded and threw his hat back on. He pulled it tight and grinned from ear to ear. “Leave him to me, mates. I’ll meet you at the blacksmith’s in town tomorrow morning, eight o’clock sharp.” Oscar took a step closer, towering over Ira. “If you’re not there, I’ll find you. And you don’t want me to have to find you.” Ira cleared his throat and pulled the brim of his hat. “Then I better not oversleep.” He swiveled on his heel with the same lighthearted air Camille had loved about her father and strolled back down the road. The similarity to her father ended there.

She tensed as Cain came to stand nearby, half-hidden in the shadow of the clock tower behind them. Verin, the curly-haired loudmouth thief, was at his side. “What do you want?” she said. Cain’s tan face twisted in a sneer. Somehow, he’d gotten bigger—or maybe her eyes were playing tricks on her. “Pretending to be a lady doesn’t mean you are one,” he said. Celaena shot Nehemia a look, but the princess’s eyes remained upon Cain—narrowed, but her lips strangely slack. But Cain wasn’t done, and his attention shifted to Nehemia. His lips pulled back, revealing his gleaming white teeth. “Neither does wearing a crown make you a real princess—not anymore.” Celaena took a step closer to him. “Shut your stupid mouth, or I’ll punch your teeth down your throat and shut it for you.

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.

Seeing his daughter slowly die, coupled with his infinite sadness and misery, the clockmaker becomes a recluse to the tower of the castle and begins to build something behind closed doors, not even his daughter knows what he’s up to. For five years, she only sees him briefly at meal-times before locking himself up in the tower once again..." "...Did he have a bathroom in the tower?" "Yes, Jack. A big one! En-suite! Power-shower and spa! Where was I!?

Chapter 1 In the bitter cold of a late December night, the gargoyle’s sharp gaze scanned restlessly over the deserted streets of Dublin. Not far below, the clock in the tower of St. Patrick’s Cathedral began to strike midnight. The sound of the bell reverberated on a breeze brittle with the promise of snow, skittering among the city’s chimneys and across frost-kissed slate roofs. Very soon, the rhythm was picked up by other clocks elsewhere in the sleeping city.

Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter.

The land is encrusted with ephemeral human conceits. That is not altogether good for a youngster; it disarranges his mind and puts him out of harmony with what is permanent. Just listen a moment. Here, if you are wise, you will seek an antidote. Taken in over-dose, all these churches and pictures and books and other products of our species are toxins for a boy like you. They falsify your cosmic values. Try to be more of an animal. Try to extract pleasure from more obvious sources. Lie fallow for a while. Forget all these things. Go out into the midday glare. Sit among rocks and by the sea. Have a look at the sun and stars for a change; they arc just as impressive as Donatello. Find yourself! You know the Cave of Mercury? Climb down, one night of full moon, all alone, and rest at its entrance. Familiarize yourself with elemental things. The whole earth reeks of humanity and its works. One has to be old and tough to appraise them at their true worth. Tell people to go to Hell, Denis, with their altar-pieces and museums and clock- towers and funny little art-galleries.

I...I...YOU...SIXTEEN LOG THIRTY-THREE...ALL COSINE SUBSCRIPTS...ANTI...ANTI...IN ALL THESE YEARS...BEAM...FLOOD...PYTHAGOREAN...CARTESIAN LOGIC...CAN I...DARE I...A PEACH...EAT A PEACH...ALLMAN BROTHERS...PATRICIA...CROCODILE AND WHIPLASH SMILE...CLOCK OF DIALS...TICK-TOCK, ELEVEN O'CLOCK, THE MAN'S IN THE MOON AND HE'S READY TO ROCK...INCESSAMENT...INCESSAMENT, MON CHER...OH MY HEAD...BLAINE...BLAINE DARES...BLAINE WILL ANSWER...I...(screaming in the voice of an infant, lapsing into another language, presumably French, as none of the words are familiar to Eddie, beginning to sing when the song Velcro Fly by Z.Z. Top suddenly plays courtesy of its percussion drums)

The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where the numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dressed in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight the clock begins once more to fold in upon itself. The face lightens and the clouds return. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream. A

We had been out for one of our evening rambles, Holmes and I, and had returned about six o’clock on a cold, frosty winter’s evening. As Holmes turned up the lamp the light fell upon a card on the table. He glanced at it, and then, with an ejaculation of disgust, threw it on the floor. I picked it up and read: CHARLES AUGUSTUS MILVERTON, Appledore Towers, Hampstead. Agent. “Who is he?” I asked. “The worst man in London,” Holmes answered, as he sat down and stretched his legs before the fire. “Is anything on the back of the card?” I turned it over. “Will call at 6:30--C.A.M.,” I read. “Hum! He’s about due. Do you feel a creeping, shrinking sensation, Watson, when you stand before the serpents in the Zoo, and see the slithery, gliding, venomous creatures, with their deadly eyes and wicked, flattened faces? Well, that’s how Milverton impresses me. I’ve had to do with fifty murderers in my career, but the worst of them never gave me the repulsion which I have for this fellow. And yet I can’t get out of doing business with him--indeed, he is here at my invitation.” “But who is he?” “I’ll tell you, Watson. He is the king of all the blackmailers. Heaven help the man, and still more the woman, whose secret and reputation come into the power of Milverton! With a smiling face and a heart of marble, he will squeeze and squeeze until he has drained them dry. The fellow is a genius in his way, and would have made his mark in some more savoury trade. His method is as follows: He allows it to be known that he is prepared to pay very high sums for letters which compromise people of wealth and position. He receives these wares not only from treacherous valets or maids, but frequently from genteel ruffians, who have gained the confidence and affection of trusting women. He deals with no niggard hand. I happen to know that he paid seven hundred pounds to a footman for a note two lines in length, and that the ruin of a noble family was the result. Everything which is in the market goes to Milverton, and there are hundreds in this great city who turn white at his name. No one knows where his grip may fall, for he is far too rich and far too cunning to work from hand to mouth. He will hold a card back for years in order to play it at the moment when the stake is best worth winning. I have said that he is the worst man in London, and I would ask you how could one compare the ruffian, who in hot blood bludgeons his mate, with this man, who methodically and at his leisure tortures the soul and wrings the nerves in order to add to his already swollen money-bags?” I had seldom heard my friend speak with such intensity of feeling.

Winter was come indeed bringing with it those pleasures of which the summer dreamer knows nothing—the delight when the fine and glittering day shows in the window, though one knows how cold it is outside; the delight of getting as close as possible to the blazing range which in the shadowy kitchen throws reflections very different from the pale gleams of sunlight in the yard, the range we cannot take with us on our walk, busy with its own activity, growling and grumbling as it sets to work, for in three hours time luncheon must be ready; the delight of filling one's bowl with steaming café-au-lait—for it is only eight o'clock—and swallowing it in boiling gulps while servants at their tasks come in and out with a, 'Good morning: up early, aren't you?' and a kindly, 'It's snug enough in here, but cold outside,' accompanying the words with that smile which is to be seen only on the faces of those who for the moment are thinking of others and not of themselves, whose expressions, entirely freed from egotism, take on a quality of vacillating goodness, a smile which completes that earlier smile of the bright golden sky touching the window-panes, and crowns our every pleasure as we stand there with the lovely heat of the range at our backs, the hot and limpid flavour of the café-au-lait in our mouths; the delight of night-time when, having had to get up to go shiveringly to the icy lavatory in the tower, into which the air creeps through the ill-fitting window, we later return deliciously to our room, feeling a smile of happiness distend our lips, finding it hard not to jump for sheer joy at the thought of the big bed already warm with our warmth, of the still burning fire, the hot-water bottle, the coverlets and blankets which have imparted their heat to the bed into which we are about to slip, walled in, embattled, hiding ourselves to the chin as against enemies thundering at the gates, who will not (and the thought brings gaiety) get the better of us, since they do not even know where we have so snugly gone to earth, laughing at the wind which is roaring outside, climbing up all the chimneys to every floor of the great house, conducting a search on each landing, trying all the locks: the delight of rolling ourselves in the blankets when we feel its icy breath approaching, sliding a little farther down the bed, gripping the hot-water bottle between our feet, working it up too high, and when we push it down again feeling the place where it has been still hot, pulling up the bedclothes to our faces, rolling ourselves into a ball, turning over, thinking—'How good life is!' too gay even to feel melancholy at the thought of the triviality of all this pleasure.

At half-past two o'clock of a moonlit morning in March, I was awakened by a tremendous earthquake, and though I had never before enjoyed a storm of this sort, the strange thrilling motion could not be mistaken, and I ran out of my cabin, both glad and frightened, shouting, "A noble earthquake! A noble earthquake!" feeling sure I was going to learn something. The shocks were so violent and varied, and succeeded one another so closely, that I had to balance myself carefully in walking as if on the deck of a ship among waves, and it seemed impossible that the high cliffs of the Valley could escape being shattered. In particular, I feared that the sheer-fronted Sentinel Rock, towering above my cabin, would be shaken down, and I took shelter back of a large yellow pine, hoping that it might protect me from at least the smaller outbounding boulders. For a minute or two the shocks became more and more violent--flashing horizontal thrusts mixed with a few twists and battering, explosive, upheaving jolts--as if Nature were wrecking her Yosemite temple, and getting ready to build a still better one.

And there was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-tilted streetlight; a frozen clock, bird-visited within its high tower; cold water from a tin jug; toweling off one's clinging shirt post-June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone's kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease/ A bloody roast death-red on a platter; a hedgetop under-hand as you flee late to some chalk-and-woodfire-smelling schoolhouse. Geese above, clover below, the sound of one's own breath when winded. The way a moistness in the eye will blur a field of stars; the sore place on the shoulder a resting toboggan makes; writing one's beloved's name upon a frosted window with a gloved finger. Tying a shoe; tying a knot on a package; a mouth on yours; a hand on yours; the ending of the day; the beginning of the day; the feeling that there will always be a day ahead.

One of the special delights of my childhood was to go and see the cases of illuminated manuscripts in the British Museum, and to walk, as every child can, right into their pages--losing myself in an enchanted world of gold, landscapes and skies whose colours were indwelt with light as if their sun shone not above but in them. Most marvelous of all were the many manuscripts mysteriously entitled "Book of Hours", since I did not know how one kept hours in a book. Their title-pages and richly ornamented initials showed scenes of times and seasons--ploughing in springtime, formal gardens bright in summer with heraldic roses, autumn harvesting, and logging in winter snow under clear, cold skies seen through a filigree screen of black trees. I could only assume that these books were some ancient device for marking the passage of time and they associated themselves in my mind with sundials in old country yards upon hot afternoons, with the whirring and booming of clocks in towers, with astrolabes engraved with the mysterious signs of the Zodiac, and-above all-with the slow, cyclic sweep of the sun, moon and stars over my head.

By the architecture of a system, I mean the complete and detailed specification of the user interface. For a computer this is the programming manual. For a compiler it is the language manual. For a control program it is the manuals for the language or languages used to invoke its functions. For the entire system it is the union of the manuals the user must consult to do his entire job. The architect of a system, like the architect of a building, is the user's agent. It is his job to bring professional and technical knowledge to bear in the unalloyed interest of the user, as opposed to the interests of the salesman, the fabricator, etc.[2] Architecture must be carefully distinguished from implementation. As Blaauw has said, "Where architecture tells what happens, implementation tells how it is made to happen."[3] He gives as a simple example a clock, whose architecture consists of the face, the hands, and the winding knob. When a child has learned this architecture, he can tell time as easily from a wristwatch as from a church tower. The implementation, however, and its realization, describe what goes on inside the case—powering by any of many mechanisms and accuracy control by any of many.

It takes the better part of those months for Herr Thiessen to complete the clock. He works on little else, though the sum of money involved makes the arrangement more than manageable. Weeks are spent on the design and the mechanics. He hires an assistant to complete some of the basic woodwork, but he takes care of all the details himself. Herr Thiessen loves details and he loves a challenge. He balances the entire design on that one specific word Mr. Barris used. Dreamlike. The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As thought clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where the numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actually paper pages that turn. There is a silver dragon curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress awaiting an absent prince. Teapots that our into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dressed in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the hour chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight the clock begins once more to fold in upon itself. The face lightens and the colds return. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream.

He reached a finger toward the Seiko, which now proclaimed the time to be ninety-one minutes past seven--A.M. and P.M.--and pulled it back just before touching the glass above the liquid crystal display. "Tell me, dear boy--is this 'watch' of yours boobyrigged?" "Huh? Oh! No. No, it's not boobyrigged." Jake touched his own finger to the face of the watch. "That means nothing, if it's set to the frequency of your own body," the Tick-Tock Man said. He spoke in the sharp, scornful tone Jake's father used when he didn't want people to figure out that he didn't have the slightest idea what he was talking about. Tick-Tock glanced briefly at Brandon, and Jake saw him weigh the pros and cons of making the bowlegged man his designated toucher. Then he dismissed the notion and looked back into Jake's eyes. "If this thing gives me a shock, my little friend, you're going to be choking to death on your own sweetmeats in thirty seconds." Jake swallowed hard but said nothing. The Tick-Tock Man reached out his finger again, and this time allowed it to settle on the face of the Seiko. The moment that it did, all the numbers went to zeros and then began to count upward again. Tick-Tock's eyes had narrowed in a grimace of potential pain as he touched the face of the watch. Now their corners crinkled in the first genuine smile Jake had seen from him. He thought it was partly pleasure at his own courage but mostly simple wonder and interest. "May I have it?" he asked Jake silkily. "As a gesture of your goodwill, shall we say? I am something of a clock fancier, my dear young cully--so I am." "Be my guest." Jake stripped the watch off his arm at once and dropped in onto the Tick-Tock Man's large waiting palm.

Wherever you go, Provincetown will always take you back, at whatever age and in whatever condition. Because time moves somewhat differently there, it is possible to return after ten years or more and run into an acquaintance, on Commercial or at the A&P, who will ask mildly, as if he’d seen you the day before yesterday, what you’ve been doing with yourself. The streets of Provincetown are not in any way threatening, at least not to those with an appetite for the full range of human passions. If you grow deaf and blind and lame in Provincetown, some younger person with a civic conscience will wheel you wherever you need to go; if you die there, the marshes and dunes are ready to receive your ashes. While you’re alive and healthy, for as long as it lasts, the golden hands of the clock tower at Town Hall will note each hour with an electric bell as we below, on our purchase of land, buy or sell, paint or write or fish for bass, or trade gossip on the post office steps. The old bayfront houses will go on dreaming, at least until the emptiness between their boards proves more durable than the boards themselves. The sands will continue their slow devouring of the forests that were the Pilgrims’ first sight of North America, where man, as Fitzgerald put it, “must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.” The ghost of Dorothy Bradford will walk the ocean floor off Herring Cove, draped in seaweed, surrounded by the fleeting silver lights of fish, and the ghost of Guglielmo Marconi will tap out his messages to those even longer dead than he. The whales will breach and loll in their offshore world, dive deep into black canyons, and swim south when the time comes. Herons will browse the tidal pools; crabs with blue claws tipped in scarlet will scramble sideways over their own shadows. At sunset the dunes will take on their pink-orange light, and just after sunset the boats will go luminous in the harbor. Ashes of the dead, bits of their bones, will mingle with the sand in the salt marsh, and wind and water will further disperse the scraps of wood, shell, and rope I’ve used for Billy’s various memorials. After dark the raccoons and opossums will start on their rounds; the skunks will rouse from their burrows and head into town. In summer music will rise up. The old man with the portable organ will play for passing change in front of the public library. People in finery will sing the anthems of vanished goddesses; people who are still trying to live by fishing will pump quarters into jukeboxes that play the songs of their high school days. As night progresses, people in diminishing numbers will wander the streets (where whaling captains and their wives once promenaded, where O’Neill strode in drunken furies, where Radio Girl—who knows where she is now?—announced the news), hoping for surprises or just hoping for what the night can be counted on to provide, always, in any weather: the smell of water and its sound; the little houses standing square against immensities of ocean and sky; and the shapes of gulls gliding overhead, white as bone china, searching from their high silence for whatever they might be able to eat down there among the dunes and marshes, the black rooftops, the little lights tossing on the water as the tides move out or in.

From the cobbled Close, we all admired the Minster's great towers of fretted stone soaring to the clouds, every inch carved as fine as lacework. Once we had passed into the nave, I surrendered my scruples to that glorious hush that tells of a higher presence than ourselves. It was a bright winter's day, and the vaulted windows tinted the air with dappled rainbows. Sitting quietly in my pew, I recognized a change in myself; that every morning I woke quite glad to be alive. Instead of fitful notions of footsteps at midnight, each new day was heralded by cheery sounds outside my window: the post-horn's trumpeting and the cries and songs of busy, prosperous people. I was still young and vital, with no need for bed rest or sleeping draughts. I was ready to face whatever the future held. However troubled my marriage was, it was better by far than my former life with my father. Dropping my face into my clasped hands, I glimpsed in reverie a sort of labyrinth, a mysterious path I must traverse in the months to come. I could not say what trials lay ahead of me- but I knew that I must be strong, and win whatever happiness I might glean on this earth. It was easy to make such a resolution when, as yet, I faced no actual difficulties. Each morning, Anne and I returned from our various errands to take breakfast at our lodgings. Awaiting us stood a steaming pot of chocolate and a plate of Mrs. Palmer's toast and excellent buns. Anne and I both heartily agreed that if time might halt we should have liked every day to be that same day, the gilt clock chiming ten o'clock, warming our stockinged feet on the fire fender, splitting a plate of Fat Rascals with butter and preserves, with all the delightful day stretching before us.

A glance at the clock on the nightstand told me I still had several hours until morning, and I knew I was in for a long night. I wasn’t quite ready to get back in bed, and my throat felt dry, so I left the bedroom and padded into the kitchen for a bottle of cool water. On my way back through the living room, I glanced at the couch and froze. Holt was lying there with a blanket tossed over his legs. “You’re sleeping on the couch?” I said, surprise lacing my tone. “I figured it was too soon to climb into bed with you,” he drawled. A warm flush spread over my limbs. The idea of sharing a bed with him… of being tangled up in his arms and legs… was entirely too appealing. “I’m an idiot.” He chuckled. “And why is that?” Because I should have realized that he only had one bed in this house and I was hogging it. He did say my scent was on his sheets. Geez, how slow on the uptake was I? “I should be the one sleeping out here.” “No.” It sounded like a command. “Yes.” He moved so fast I barely saw him, and then he was towering over me, my eyes left to stare at the very wide expanse of his chiseled chest. “What kind of a man do you think I am?” he drawled. “What?” I said, not really listening to his words. His body was the ultimate distraction. “Do you really think I would let someone—a girl—who was just released from the hospital, still bruised and burned, sleep on my couch?” “I’m sure I would be more comfortable there than you would be.” “Go back to bed, Katie.” He crossed his arms over his chest. “And if I don’t?” I challenged. I didn’t really care for the overbearing type. “If you don’t, I’m going to rip my shirt off you right here and do things to your body that will echo through your limbs long after I stop touching you.

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

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, Prayer (A Poem of Magnitudes and Vectors) I, Prayer, know no hour. No season, no day, no month nor year. No boundary, no barrier or limitation–no blockade hinders Me. There is no border or wall I cannot breach. I move inexorably forward; distance holds Me not. I span the cosmos in the twinkling of an eye. I knowest it all. I am the most powerful force in the Universe. Who then is My equal? Canst thou draw out leviathan with a hook? None is so fierce that dare stir him up. Surely, I may’st with but a Word. Who then is able to stand before Me? I am the wind, the earth, the metal. I am the very empyrean vault of Heaven Herself. I span the known and the unknown beyond Eternity’s farthest of edges. And whatsoever under Her wings is Mine. I am a gentle stream, a fiery wrath penetrating; wearing down mountains –the hardest and softest of substances. I am a trickling brook to fools of want lost in the deserts of their own desires. I am a Niagara to those who drink in well. I seep through cracks. I inundate. I level forests kindleth unto a single burning bush. My hand moves the Universe by the mind of a child. I withhold treasures solid from the secret stores to they who would wrench at nothing. I do not sleep or eat, feel not fatigue, nor hunger. I do not feel the cold, nor rain or wind. I transcend the heat of the summer’s day. I commune. I petition. I intercede. My time is impeccable, by it worlds and destinies turn. I direct the fates of nations and humankind. My Words are Iron eternaled—rust not they away. No castle keep, nor towers of beaten brass, Nor the dankest of dungeon helks, Nor adamantine links of hand-wrought steel Can contain My Spirit–I shan’t turn back. The race is ne’er to the swift, nor battle to the strong, nor wisdom to the wise or wealth to the rich. For skills and wisdom, I give to the sons of man. I take wisdom and skills from the sons of man for they are ever Mine. Blessed is the one who finds it so, for in humility comes honor, For those who have fallen on the battlefield for My Name’s sake, I reach down to lift them up from On High. I am a rose with the thorn. I am the clawing Lion that pads her children. My kisses wound those whom I Love. My kisses are faithful. No occasion, moment in time, instances, epochs, ages or eras hold Me back. Time–past, present and future is to Me irrelevant. I span the millennia. I am the ever-present Now. My foolishness is wiser than man’s My weakness stronger than man’s. I am subtle to the point of formlessness yet formed. I have no discernible shape, no place into which the enemy may sink their claws. I AM wisdom and in length of days knowledge. Strength is Mine and counsel, and understanding. I break. I build. By Me, kings rise and fall. The weak are given strength; wisdom to those who seek and foolishness to both fooler and fool alike. I lead the crafty through their deceit. I set straight paths for those who will walk them. I am He who gives speech and sight - and confounds and removes them. When I cut, straight and true is my cut. I strike without fault. I am the razored edge of high destiny. I have no enemy, nor friend. My Zeal and Love and Mercy will not relent to track you down until you are spent– even unto the uttermost parts of the earth. I cull the proud and the weak out of the common herd. I hunt them in battles royale until their cries unto Heaven are heard. I break hearts–those whose are harder than granite. Beyond their atomic cores, I strike their atomic clock. Elect motions; not one more or less electron beyond electron’s orbit that has been ordained for you do I give–for His grace is sufficient for thee until He desires enough. Then I, Prayer, move on as a comet, Striking out of the black. I, His sword, kills to give Life. I am Living and Active, the Divider asunder of thoughts and intents. I Am the Light of Eternal Mind. And I, Prayer, AM Prayer Almighty.

Before taking the discipline for the first time, Brother Martin spent considerable time in prayer. Then he lashed himself with an iron chain armed with hooks of steel until the blood flowed copiously; to increase the pain and at the same time to staunch the flow of blood, he rubbed the wounds with salt and vinegar, in this way hoping to make reparation for his faults and failings. Then Martin would spend a long period of time in the chapter room, meditating on the sufferings of Our Divine Lord, with his eyes often fixed upon the crucifix. Filled with a longing to participate in the sorrows and pains endured by Christ, Martin made preparations for the second nightly flagellation by ripping off his garments, which were matted with blood and glued fast to his shoulders. The instrument of torture now was a leather whip, and Martin inflicted an even more severe punishment upon his back and shoulders, begging Almighty God to take pity upon sinners and especially to open wide the gates of heaven by the conversion of infidels. It was zeal for souls, for those for whom Christ had shed His own Precious Blood, that urged Blessed Martin to lash himself mercilessly with this leather whip. He was only too happy to share in the bitter Passion of Christ, on the details of which he had just lovingly meditated; and he would only too gladly endure any physical pain, any agony however terrifying, if only thereby he could win souls to Christ. Martin now permitted his weary body to snatch brief rest which we have mentioned previously. With the approach of dawn, before four o'clock, he arose and ran to the bell tower, where he greeted the dawn in honor of the Mother of God, as was his regular custom. It was at this time that the holy Negro took the third and most severe of his scourgings. Again, it was preceded by prayer and the cruel removal of the rough tunic which was stuck fast to his flesh. This third scourging was administered with the branch of a wild quince tree, and sometimes Martin would enlist the assistance of an Indian or a Negro in whom he could confide and who was indebted to Blessed Martin for some outstanding kindness. Mercilessly the lash was applied by strong and powerful hands. In the midst of his sufferings Martin would urge on his friend to greater vigor and to be utterly brutal in applying this instrument for penance. This third and last scourging was for the relief of the Poor Souls abandoned in the fires of Purgatory.

The mechanism of the clock was enclosed in a box resembling a large cupboard, but I was disappointed with the workings. They were much smaller than I had anticipated. The clock was worked by heavy weights suspended on long cables. My father picked up a handle like the crank handle of a car and wound them up. There were two of them. One to work the hands, the other controlling the hammer which struck out the hours on a large bell. Then the mousetraps were set, Not to catch mice, but to control the lighting. Previously my father had to make a special trip each evening to switch on the lights of the clock, returning near midnight to switch them off. To obviate this he invented a method of light control which may have been unique. Two switches, one for switching on and the other for switching off were used. They were fixed on the inside wall of the tower. A mousetrap mounted near each switch was so arranged that when the trap sprung, the arc traversed by the closing trap enabled the switch to be flicked on or off as required. Adjustable sleeves were set along the the cables for required times. The sleeves on the descending cables tripped the mouse traps which actuated the switches.

If you want to achieve anything in this life all you need is a clock on the leaning tower of Pisa” – the time and the inclination.   Perspective:

The invention of reliable and recognizable timepieces—clocks and bell towers—liberated workers from the bondage of piecework, which entails regimentation to count the pieces and favors quantity over quality, slavery over free labor.

You come from the country?” “You know that.” “No,” said Theron. “I thought you’d sprung full-grown from the University clock tower.

History texts are hazy as to who actually built the place. People say the witches inhabited it from the early part of the 1700s until their mass execution in 1793. Folks say they added the exterior sculptures themselves. Or that their remains are stuffed inside those sculptures. Which allegedly explains the terrifying screams you often hear coming from inside that old clock tower. (Although,

of the clock tower. When the university

For years on end Basanavicius has been trying to convince Vilnius Council to commission the Guild of Mechanics to build the largest steam clock in Europe and install it in the Cathedral Bell tower, but the idea was opposed by the Spiritual Councillor, venerable Prelate Masalskis. Science and oil-stained inventions are one thing, he declared, but eternal spiritual values are something completely different.

On May 5th a white flag flew from the Ebensee watch tower. It was finished. They had laid down their arms. The sun was shining brightly when, at nine o’clock, an American light tank, with three soldiers aboard, arrived and took possession of the camp. We were free.

An Image of Disorder Consider the consequences of disorder, and you will be strengthened in choosing order in your life. The Torah gives us a direct teaching in this regard in the famous story of the Tower of Babel.16 The Hebrew word for sin, averah—like its English counterpart transgression—means “straying across a boundary.” The tower builders’ efforts to reach out to touch heaven were sinful because they transgressed the limits and constraints that are laid into the deep structure of the universe. Stretching for heaven, they failed to honor the distinction between the human and the divine. Since they flaunted order, their punishment was to suffer disorder, as represented by their inability to communicate with one another. Failure to honor the need for order brings on chaos. This cautionary tale applies to our lives, too. How much time, energy, emotion, and life is diverted into the channels that spring from disorder? Where are the Haggadot for the Seder? Where is my tallis? Who forgot to set the clock? Why didn’t you take the soup out of the freezer? Why would I buy milk if it wasn’t on the list? It’s in here somewhere. I almost got there. How many relationships are challenged or even destroyed by lack of attention to order? Without order, you are bound to be wasting something—whether time, resources, things themselves that get lost, relationships, and so on. Not wasting is a Jewish ethical principle.17 Any management consultant will tell you that you have to get organized if you want to be effective, but our concern goes far beyond that. Our concern is how living in chaos throws up impediments to being attentive to the divine will. And isn’t a life at the other end of the spectrum, which would be obsessively rigid, every bit as much an obstacle to spiritual living? Picture chaos, with stuff flying and piles of junk and cluttered thinking and a clanging ruckus: who could possibly hear the fragile voice of truth whispering in the midst of the tornado? And in contrast, but equally disabling, where order has been taken to the point of extreme inflexibility, even if you heard the divine will, would there be anything you could do to meld your own personal will to the will of God, so unbending would your ways have become?

The train passed a brick tower with a broken clock, its hands hanging at 6:30, or almost at 6:30; in fact at a dead version of 6:30, where the minute hand hid the hour at the parallax point; an inverted midnight.

The all-clear siren alerts the people who took shelter at the Hatchobori streetcar station that they can now emerge. Twenty-year-old Akiko Takakura is a cautious young woman, but she now resumes her journey to the Geibi Bank, where she does secretarial work. The bank, with its stone walls and armored window coverings that let in almost no light, is less than a half mile from the T-shaped Aioi Bridge spanning the Ota River—what will soon be ground zero. Three days ago, the clock tower at Hiroshima University stopped working at precisely 8: 15. The city lacks the spare parts and material to fix it, so the great clock looking down on all of Hiroshima remains frozen in time. As Akiko enters the lobby of her workplace, she notices that the bank clock in the lobby is just a few moments away from striking 8: 15. It is an omen Akiko will never forget.

The clock in the church tower

Oath-breaker. Liar. Traitor. Chaol was all of those things now, but not to Dorian. Never to his true king. “Take out the clock tower in the garden,” he said, the words barely audible. He felt Aelin turn toward him. “And magic will be free. It was a spell—three towers, all built of Wyrdstone. Take out one, and magic is free.” She glanced northward without so much as a blink of surprise, as though she could see all the way to the glass castle. “Thank you,” she murmured. That was it.

Light exploded from the uppermost castle spires, so bright that he was blinded for a moment. Aelin. Alive. Alive. He flapped, bending the wind to his will with the dregs of his magic, soaring faster and faster. He sent another wind toward the clock tower, rerouting the smoke toward the river, away from them. Rowan rounded the corner of the castle. He had no words for what he saw.

Rowan shook his head. “I don’t know whether to throttle you or clap you on the back.” “I think there’s a long line of people who feel the same way.” She scanned the sewer-turned-charnel-house. “I needed Lorcan’s eyes elsewhere tonight and tomorrow. And I needed to know whether these Wyrdhounds could be killed.” “Why?” He saw too much. Slowly, she met his gaze. “Because I’m going to use their beloved sewer entrance to get into the castle—and blow up the clock tower right from under them.” Rowan let out a low, wicked chuckle. “That’s how you’re going to free magic. Once Lorcan kills the last of the Wyrdhounds, you’re going in.” “He really should have killed me, considering the world of trouble that’s now hunting him through this city.” Rowan bared his teeth in a feral smile. “He had it coming

Noon, he had promised Aelin. As the sun began to reach its apex on the solstice, they’d bring the tower crashing down. The final clang of the clock tower sounded. Noon had come and gone. And his Fireheart, his queen, was in that castle above them—left with only her mortal training and wits to keep her alive. Perhaps not for much longer.

Jocelyn, as the bus rolled along, looked across a space of green grass, elm-bordered, to the grey mass of the Cathedral. Its towers rose four-square against the sky and the wide expanse of the west front, rising like a precipice, was crowded with sculptured figures... About them the rooks were beating slowly and over their heads the bells were ringing for five o'clock evensong... To his left, on the opposite side of the road to the Cathedral, was another, smaller mass of grey masonry, the Deanery, and in front of him was a second archway. Once through it they were in a discreet road bordered on each side with gracious old houses standing back in walled gardens. Here dwelt the Canons of the Cathedral with their respective wives and families, and the few elderly ladies of respectable antecedents, blameless life and orthodox belief who were considered worthy to be on intimate terms with them.

Mr. Hardy said that to him the most interesting angle to the case was the fact that the suspect apparently used one or more wigs as a disguise. “He may have bought at least one of them in Bayport. I suggest that you boys make the rounds of all shops selling wigs and see what you can find out.” The boys glanced at the clock on their father’s large desk, then Frank said, “We’ll have time to do a little sleuthing before closing time. Let’s go!” The two boys made a dash for the door, then both stopped short. They did not have the slightest idea where they were going! Sheepishly Joe asked, “Dad, do you know which stores sell wigs?” With a twinkle in his eyes, Mr. Hardy arose from the desk, walked into the library, and opened a file drawer labeled “W through Z.” A moment later he pulled out a thick folder marked WIGS: Manufacturers, distributors, and retail shops of the world. “Why, Dad, I didn’t know you had all this information—” Joe began. His father merely smiled. He thumbed through the heavy sheaf of papers, and pulled one out. “Bayport,” he read. “Well, three of these places can be eliminated at once. They sell only women’s hair pieces. Now let’s see. Frank, get a paper and pencil. First there’s Schwartz’s Masquerade and Costume Shop. It’s at 79 Renshaw Avenue. Then there’s Flint’s at Market and Pine, and one more: Ruben Brothers. That’s on Main Street just this side of the railroad.” “Schwartz’s is closest,” Frank spoke up. “Let’s try him first, Joe.” Hopefully the boys dashed out to their motorcycles and hurried downtown. As they entered Schwartz’s shop, a short, plump, smiling man came toward them. “Well, you just got under the wire fellows,” he said, looking up at a large old-fashioned clock on the wall.

THE MAD ROBOT, by William P. McGivern Originally published in Amazing Stories, January 1944. CHAPTER I Rick Weston arrived at the Earth space-port outside Greater New York at six o’clock in the morning. He was driven directly to the mooring tower where his slim, fast pursuit single-seater was being readied for his trip to Jupiter

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the bushes no more. I stare up at the looming, lit, downtown skyscrapers, the Transamerica Building, Grace Cathedral and Coit Tower spearing black skies beyond crooked hills, the Bay Bridge’s running lights behind me like an airport landing strip, Alcatraz and the Golden Gate, the roaring Pacific leading to the Great Highway’s abandoned beachheads where the Boys of Belvedere and I used to stay up all night building giant driftwood sculptures and setting them on fire at dawn, dancing like Indians, and I know nowhere I go can compare to this place, because nowhere else can offer me what this city has, standing on 22nd and Mission, two o’clock on some random Sunday afternoon, fat, orange sun splashing, the mango, melon, and papaya peddlers on rolling carts camped beneath the giant Woolworth’s sign, the Mexican panadarias baking empanadas, rich, wheat breads, taquerias stewing al pastor and grilling carne asada, onions and avocado and horchata, greasy spoons carved into alley walls and indie beaneries brewing pungent coffees, the bead and trinket stores with their Jesus and Mary candles for 99 cents, the outlandish drag queen fashions in the Foxy Lady display window,