Photographer Brother Quotes

One day, quite some time ago, I happened on a photograph of Napoleon’s youngest brother, Jerome, taken in 1852. And I realized then, with an amazement I have not been able to lessen since: ‘I am looking at eyes that looked at the Emperor.’ Sometimes I would mention this amazement, but since no one seemed to share it, nor even to understand it (life consists of these little touches of solitude), I forgot about it.

Years passed. The trees in our yard grew taller. I watched my family and my friends and neighbors, the teachers whom I'd had or imaged having, the high school I had dreamed about. As I sat in the gazebo I would pretend instead that I was sitting on the topmost branch of the maple under which my brother had swallowed a stick and still played hide-and-seek with Nate, or I would perch on the railing of a stairwell in New York and wait for Ruth to pass near. I would study with Ray. Drive the Pacific Coast Highway on a warm afternoon of salty air with my mother. But I would end each day with my father in his den. I would lay these photographs down in my mind, those gathered from my constant watching, and I could trace how one thing- my death- connected these images to a single source. No one could have predicted how my loss would change small moments on Earth. But I held on to those moments, hoarded them. None of them were lost as long as I was there.

I thought scientists were going to find out exactly how everything worked, and then make it work better. I fully expected that by the time I was twenty-one, some scientist, maybe my brother, would have taken a color photograph of God Almighty—and sold it to Popular Mechanics magazine. Scientific truth was going to make us so happy and comfortable. What actually happened when I was twenty-one was that we dropped scientific truth on Hiroshima.

The photograph of my brother that is in this album shows a young man, beautiful and perfect in the way of young people, for young people are always perfect and beautiful until they are not, until the moment they just are not.

I thought scientists were going to find out exactly how everything worked, and then make it work better. I fully expected that by the time I was twenty-one, some scientist, maybe my brother, would have taken a colour photograph of God Almighty — and sold it to Popular Mechanics magazine. Scientific truth was going to make us so happy and comfortable. What actually happened when I was twenty-one was that we dropped scientific truth on Hiroshima.

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

She had always assumed that her life would end inside the war, that the war itself would be her eternal present, as it was for Darrow and for her brother. The possibility of time going on, her memories growing dim, the photographs of the battles turning from life into history terrified her.

photographs of her bearded brother and solemn sisters in black hats and silver frames which stood like tiny polished gravestones on her dressing-table.

From my novel "Broken Things" (Lighthouse Publishing of the Carolinas): Those eyes had haunted his dreams―and nightmares too―for over a quarter of a century. “I wanted to tell you Allie’s in town. Allie Drake. You remember her, don’t you?” Jack’s gaze shifted back to his brother’s grinning face and suddenly he wanted to pop Steve right in the nose. Did he remember Allie Drake? What a stupid question!

My prolonged study of these photographs led me to appreciate the importance of preserving certain moments for prosperity, and as time moved forwards I also came to see what a powerful influence these framed scenes exerted over us as we went about our daily lives. To watch my uncle pose my brother a maths problem, and at the same time to see him in a picture taken thirty-two years earlier; to watch my father scanning the newspaper and trying, with a half-smile, to catch the tail of a joke rippling across the crowded room, and at that very same moment to see a picture of him to me that my grandmother had framed and frozen these memories so that we could weave them into the present.When, in the tones ordinarily preserved for discussing the founding of a nation, my grandmother spoke of my grandfather who had died so young, and pointed at the frames on the tables and the walls, it seemed that she, like me, was pulled in two direction , wanting to get on with life but also longing to capture the moment of perfection, savouring the ordinary life but still honouring the ideal. But even as I pondered these dilemmas-if you plucked a special moment from life and framed it, were you defying death, decay and the passage of time, or were you submitting to them? - I grew very bored with them.

Anticipating their calamity and fright when deportation day came (August 6, 1942) he [Henryk Goldszmit, pen name: Janusz Korczak] joined them aboard the train bound for Treblinka, because, he said, he knew his presence would calm them—“You do not leave a sick child in the night, and you do not leave children at a time like this.” A photograph taken at the Umschlagplatz (Transshipment Square) shows him marching, hatless, in military boots, hand in hand with several children, while 192 other children and ten staff members follow, four abreast, escorted by German soldiers. Korczak and the children boarded red boxcars not much larger than chicken coops, usually stuffed with seventy-five vertical adults, though all the children easily fit. In Joshua Perle’s eyewitness account in The Destruction of the Warsaw Ghetto, he describes the scene: “A miracle occurred, two hundred pure souls, condemned to death, did not weep. Not one of them ran away. None tried to hide. Like stricken swallows they clung to their teacher and mentor, to their father and brother, Janusz Korczak.” In 1971, the Russians named a newly discovered asteroid after him, 2163 Korczak, but maybe they should have named it Ro, the planet he dreamed of. The Poles claim Korczak as a martyr, and the Israelis revere him as one of the Thirty-Six Just Men, whose pure souls make possible the world’s salvation. According to Jewish legend, these few, through their good hearts and good deeds, keep the too-wicked world from being destroyed. For their sake alone, all of humanity is spared. The legend tells that they are ordinary people, not flawless or magical, and that most of them remain unrecognized throughout their lives, while they choose to perpetuate goodness, even in the midst of inferno.

Mara, remember how you kicked sand into that neighbor child’s eyes? I yelled at you and made you apologize in your best dress, and that night I cried by myself in the bathroom because you are Bad’s child as much as you are mine. Remember when you ran into the plate glass window and cut your arms so badly we had to drive you to the nearest hospital in the pickup truck, and when it was over Bad begged me to replace the backseat because of all the blood? Or when Tristan told us that he wanted to invite a boy to prom and you put your arm around him like this? Mara, remember? Your own babies? Your husband with his Captain Ahab beard and calloused hands and the house you bought in Vermont? Mara? How you still love your little brother with the ferocity of a star; an all-consuming love that will only end when one of you collapses? The drawings you handed us as children? Your paintings of dragons, Tristan’s photographs of dolls, your stories about anger, his poems about angels? The science experiments in the yard, blackening the grass to gloss? Your lives sated and[…]

On December 25, 1968, a day after the photograph was taken, the poet Archibald MacLeish wrote in the New York Times : “To see the earth as it truly is, small and blue and beautiful in that eternal silence where it floats, is to see ourselves as riders on the earth together, brothers on that bright loveliness in the eternal cold—brothers who know now they are truly brothers.

In this regard it had already been noticed by several members of her family that her attitude towards the male sex was characterized at best by indifference and at worst by aversion: the lack of interest with which she received the approaches of her occasional suitors was matched only by her passionate attachment and devotion to Godfrey – who was, as the few reports and surviving photographs testify, by far the gayest, most handsome, most dynamic and generally prepossessing of the five brothers and sisters.

It’s the photos that hit me the hardest, though. A woman cradling her husband’s limp body. A crowd looking on, emotionless, as police shine a flashlight on a woman’s bloodied corpse. A couple, half on the ground and half tangled in their moped, their blank faces turned toward the camera and sprays of blood on the pavement behind their heads. Sisters gathered around their baby brother’s body lying in its small casket. A body with its head covered in a dirty cloth left in a pile of garbage on the side of the street. Grayish-green corpses stacked like firewood in an improvised morgue. There’s even a short video of grainy security cam footage in which a masked motorcyclist pulls up next to a man in an alleyway, shoots him point-blank in the side of the head, then drives away. In high definition, I see the victims’ wounds, their oddly twisted limbs, their blood and brain matter sprayed across familiar-looking streets. In every dead body, I see Jun. I want to look away. But I don’t. I need to know. I need to see it. These photographers didn’t want to water it down. They wanted the audience to confront the reality, to feel the pain that’s been numbed by a headline culture.

He sat down and picked up a pen. He looked at the photograph of him and his brother just after they’d joined up, and words that had so long evaded his mouth now gathered at the nib of his pen, and he wrote down everything he felt and everything he could see. He wrote to Peace once a week between their courting, and what he couldn’t get down on paper that first week he continued into the second week, then the third. He wrote sitting on a harbour bench, he wrote at the tiller of his boat. Peace got to know her fisherman through his letters. And when they met up she made him read them out loud, so that the words that had gathered at the nib of his pen found their rightful place upon his tongue. 47

Multi-generational sexual child abuse is such a common cause of the proliferation of pedophilia that Hitler/Himmler research focused on this genetic trait for mind control purposes. While I personally could not relate to the idea of sex with a child, I had parents and brothers and sisters who did. I still believe that George Bush revealed today’s causation of the rapid rise in pedophilia through justifications I heard him state. The rape of a child renders them compliant and receptive to being led without question. This, Bush claims, would cause them to intellectually evolve at a rate rapid enough to “bring them up to speed” to grasp the artificial intelligence emanating from DARPA. He believed that this generation conditioned with photographic memory through abuse was necessary for a future he foresaw controlled by technology.

We've taken it away too much, the funeral people take over. No. Let people bury their own." "Do you think it helps people to go through the process and be intimately involved?" "Yes of course, of course!" It's the most emphatic Steve has been about anything. "Keep the body at home, put it on the dining table, let the kids sleep under the table, paint the coffin, decorate it, eat. When my brother died we had fights over the coffin drinking whiskey. I remember one brother pounding Bill's coffin 'Oh you bastard!' It was our lives. We carried the coffin, we filled in the hole. I used to work in the garden as a boy with my father. And I dug the hole to put his plants in and filled in the hole. In the end we put Dad into the ground and I helped my brothers fill in the hole. We need to do it ourselves." "Why do you think it helps to have that involvement?" "It's our responsibility, it's not to help, it's enabling us to grieve, it's enabling us to go through it together. Otherwise it's taken away and whoosh - it's gone. And you can't grieve. You've got to feel, you've got to touch, you've got to be there." Steve is passionate. He reaches into his bag to pull out something to show me. It's an old yellowing newspaper clipping. The caption reads 'Devastation: a woman in despair at the site of the blasts near the Turkey-Syrian border'. The photograph is a woman, she has her arms open to the sky and she is wailing, her head thrown back. "I pray in front of that" Steve tells me as I look at it. "That's a wonderful photo of the pain of our world. I don't know if she's lost relatives or what's blown up. You have a substance to your life if you've felt pain, you've got understanding, that's where compassion is, it makes you a deeper richer human being.

Can I get a regular skim cap?” I didn’t get coffee here every day—because I had my coffee machine, or used to have—how depressing—but I visited regularly enough that they knew me. Sometimes I wanted something frothy with chocolate on the top, and I was too lazy to do that at home. Frances was in her mid-thirties, had gorgeous straight blonde hair, which was pulled back in a sleek ponytail, and an infectious smile. “Hey, chicky. Coming right up. A little birdie told me it was your birthday yesterday. Happy birthday!” She banged used coffee grounds out of the thingamajig and filled it with new ones. “Aw, thanks. Did you run into the girls last night?” The girls being my besties, Sophie and Michelle. “Yep. How come you weren’t there? They told me you piked.” She screwed the thingamajig into the machine and pressed the button. And wouldn’t you know, it worked. I wish my machine still worked. “Big day photographing a wedding. One drink and I would have fallen asleep.” I laughed—it wasn’t too far from the truth. So what if I left out the bit where I had a pity party because my brother hadn’t called. I’d try calling him later. Knowing him, he had a good

I think Hannah had two brothers. Yes, I’m sure she did. Theo and, and--this boy.” I shook my head. “If he’s Hannah’s brother, why isn’t he in any of the other pictures?” Aunt Blythe didn’t answer right away. In the silence, rain pattered against the windows and dripped through holes in the roof. The wind crept in through cracks and stirred the folds of a long white dress hanging from the rafters. Finally, my aunt raised her eyes from the photograph. “I think his name was Andrew. Isn’t that strange? You share a face and a name with a boy who died years before you were born.” My throat tightened. “He died? Andrew died?” Aunt Blythe looked at me. “Oh, dear,” she said, “I didn’t mean to frighten you.” “I’m not scared!” My voice came out as high and squeaky as a girl’s. Furious at myself for being such a baby, I leapt to my feet and headed for the stairs. “Slow down, Drew,” my aunt called. “You’ll go through the floor!” Before the words were out of her mouth, a board split under my weight, and I fell flat on my face. In seconds my aunt was beside me. “Are you all right?” she asked. “Did you hurt yourself?” “I’m fine.” Too embarrassed to meet her eyes, I peered into the hole I’d made.

The photographer was taking pictures with a small pocket camera but the sergeant sent him back to the car for his big Bertillon camera. Grave Digger and Coffin Ed left the cellar to look around. The apartment was only one room wide but four storeys high. The front was flush with the sidewalk, and the front entrance elevated by two recessed steps. The alleyway at the side slanted down from the sidewalk sufficiently to drop the level of the door six feet below the ground-floor level. The cellar, which could only be entered by the door at the side, was directly below the ground-floor rooms. There were no apartments. Each of the four floors had three bedrooms opening on to the public hall, and to the rear was a kitchen and a bath and a separate toilet to serve each floor. There were three tenants on each floor, their doors secured by hasps and staples to be padlocked when they were absent, bolts and chains and floor locks and angle bars to protect them from intruders when they were present. The doors were pitted and scarred either because of lost keys or attempted burglary, indicating a continuous warfare between the residents and enemies from without, rapists, robbers, homicidal husbands and lovers, or the landlord after his rent. The walls were covered with obscene graffiti, mammoth sexual organs, vulgar limericks, opened legs, telephone numbers, outright boasting, insidious suggestions, and impertinent or pertinent comments about various tenants’ love habits, their mothers and fathers, the legitimacy of their children. “And people live here,” Grave Digger said, his eyes sad. “That’s what it was made for.” “Like maggots in rotten meat.” “It’s rotten enough.” Twelve mailboxes were nailed to the wall in the front hall. Narrow stairs climbed to the top floor. The ground-floor hallway ran through a small back courtyard where four overflowing garbage cans leaned against the wall. “Anybody can come in here day or night,” Grave Digger said. “Good for the whores but hard on the children.” “I wouldn’t want to live here if I had any enemies,” Coffin Ed said. “I’d be scared to go to the john.” “Yeah, but you’d have central heating.” “Personally, I’d rather live in the cellar. It’s private with its own private entrance and I could control the heat.” “But you’d have to put out the garbage cans,” Grave Digger said. “Whoever occupied that whore’s crib ain’t been putting out any garbage cans.” “Well, let’s wake up the brothers on the ground floor.” “If they ain’t already awake.

Achievement ceremonies are revealing about the need of the powerful to punish women through beauty, since the tension of having to repress alarm at female achievement is unusually formalized in them. Beauty myth insults tend to be blurted out at them like death jokes at a funeral. Memories of these achievement ceremonies are supposed to last like Polaroid snapshots that gel into permanent colors, souvenirs to keep of a hard race run; but for girls and young women, the myth keeps those colors always liquid so that, with a word, they can be smeared into the uniform shades of mud. At my college graduation, the commencement speaker, Dick Cavett—who had been a “brother” of the university president in an allmale secret society—was confronted by two thousand young female Yale graduates in mortarboards and academic gowns, and offered them this story: When he was at Yale there were no women. The women went to Vassar. There, they had nude photographs taken in gym class to check their posture. Some of the photos ended up in the pornography black market in New Haven. The punch line: The photos found no buyers. Whether or not the slur was deliberate, it was still effective: We may have been Elis but we would still not make pornography worth his buying. Today, three thousand men of the class of 1984 are sure they are graduates of that university, remembering commencement as they are meant to: proudly. But many of the two thousand women, when they can think of that day at all, recall the feelings of the powerless: exclusion and shame and impotent, complicit silence. We could not make a scene, as it was our parents’ great day for which they had traveled long distances; neither could they, out of the same concern for us. Beauty pornography makes an eating disease seem inevitable, even desirable, if a young woman is to consider herself sexual and valuable: Robin Lakoff and Raquel Scherr in Face Value found in 1984 that “among college women, ‘modern’ definitions of beauty—health, energy, self-confidence”—prevailed. “The bad news” is that they all had “only one overriding concern: the shape and weight of their bodies. They all wanted to lose 5–25 pounds, even though most [were] not remotely overweight. They went into great detail about every flaw in their anatomies, and told of the great disgust they felt every time they looked in the mirror.” The “great disgust” they feel comes from learning the rigid conventions of beauty pornography before they learn their own sexual value; in such an atmosphere, eating diseases make perfect sense.

Multi-generational sexual child abuse is such a common cause of the proliferation of pedophilia that Hitler/Himmler research focused on this genetic trait for mind control purposes. While I personally could not relate to the idea of sex with a child, I had parents and brothers and sisters who did. I still believe that George Bush revealed today’s causation of the rapid rise in pedophilia through justifications I heard him state. The rape of a child renders them compliant and receptive to being led without question. This, Bush claims, would cause them to intellectually evolve at a rate rapid enough to “bring them up to speed” to grasp the artificial intelligence emanating from DARPA. He believed that this generation conditioned with photographic memory through abuse was necessary for a future he foresaw controlled by technology. Since sexual abuse enhanced photographic memory while decreasing critical analysis and free thought, there would ultimately be no free will soul expression controlling behavior. In which case, social engineering was underway to create apathy while stifling spiritual evolution. Nevertheless, to short sighted flat thinking individuals such as Bush, spiritual evolution was not a consideration anyway. Instead, controlling behavior in a population diminished by global genocide of ‘undesirables’ would result in Hitler’s ‘superior race’ surviving to claim the earth. Perceptual justifications such as these that were discussed at the Bohemian Grove certainly did not provide me with the complete big picture. It did, however, provide a view beyond the stereotyped child molester in a trench coat that helped in understanding the vast crimes and cover-ups being discussed at this seminar in Houston.

For our part, we thought we would be following her path from a distance in the press. Our friends called to tell us when the photo of Diana pushing Patrick in his stroller appeared in Newsweek, or when our name was mentioned in a news magazine or paper. We were generally mislabeled as the Robinsons. Everyone asked if we would be going to the wedding, and we would reply, “Us? No, of course not.” We truly never expected to hear from Diana again, so her January letter became especially precious to us. We were stunned when a letter from Diana on Buckingham Palace stationary arrived in late March. She was clearly happy, writing, “I am on a cloud.” She missed Patrick “dreadfully.” She hoped that we were all “settled down by now, including your cat too--.” Diana had never even seen our cat. We’d left him with my brother because England requires a six-month quarantine for cats and dogs. How did she ever remember we had one? Then, “I will be sending you an invitation to the wedding, naturally. . . .” The wedding . . . naturally . . . God bless her. Maybe we weren’t going to lose her after all. She even asked me to send a picture of Patrick to show to “her intended(!), since I’m always talking about him.” As for her engagement, she could never even have imagined it the year before. She closed with her typical and appealing modesty: “I do hope you don’t mind me writing to you but just had to let you know what was going on.” Mind? I was thrilled and touched and amazed by her fondness and thoughtfulness, as I have been every single time she has written to us and seen us. This was always to be the Diana we knew and loved—kind, affectionate, unpretentious. I wrote back write away and sent her the two photographs I’d taken of her holding Patrick in our living room the previous fall. After Diana received the photographs, she wrote back on March 31 to thank me and sent us their official engagement picture. She said I should throw the photograph away if it was of no use. She added, “You said some lovely things which I don’t feel I deserve . . . .” Surely, she knew from the previous year that we would be her devoted friends forever.

Your womb can’t never bear fruit.” Miss Ethel Fordham told her that. Without sorrow or alarm, she had passed along the news as though she’d examined a Burpee seedling overcome by marauding rabbits. Cee didn’t know then what to feel about that news, no more than what she felt about Dr. Beau. Anger wasn’t available to her—she had been so stupid, so eager to please. As usual she blamed being dumb on her lack of schooling, but that excuse fell apart the second she thought about the skilled women who had cared for her, healed her. Some of them had to have Bible verses read to them because they could not decipher print themselves, so they had sharpened the skills of the illiterate: perfect memory, photographic minds, keen senses of smell and hearing. And they knew how to repair what an educated bandit doctor had plundered. If not schooling, then what? Branded early as an unlovable, barely tolerated “gutter child” by Lenore, the only one whose opinion mattered to her parents, exactly like what Miss Ethel said, she had agreed with the label and believed herself worthless. Ida never said, “You my child. I dote on you. You wasn’t born in no gutter. You born into my arms. Come on over here and let me give you a hug.” If not her mother, somebody somewhere should have said those words and meant them. Frank alone valued her. While his devotion shielded her, it did not strengthen her. Should it have? Why was that his job and not her own? Cee didn’t know any soft, silly women. Not Thelma, or Sarah, or Ida, and certainly not the women who had healed her. Even Mrs. K., who let the boys play nasty with her, did hair and slapped anybody who messed with her, in or outside her hairdressing kitchen. So it was just herself. In this world with these people she wanted to be the person who would never again need rescue. Not from Lenore through the lies of the Rat, not from Dr. Beau through the courage of Sarah and her brother. Sun-smacked or not, she wanted to be the one who rescued her own self. Did she have a mind, or not? Wishing would not make it so, nor would blame, but thinking might. If she did not respect herself, why should anybody else? Okay. She would never have children to care about and give her the status of motherhood. Okay. She didn’t have and probably would never have a mate. Why should that matter? Love? Please. Protection? Yeah, sure. Golden eggs? Don’t make me laugh. Okay. She was penniless. But not for long. She would have to invent a way to earn a living. What else?

Yuda was in familiar surroundings, yet he had no parents, he did not know whether his brother Michael was alive. He didn't invite any of his friends because the aunt's apartment was much too small to accommodate more than the group assembled. Two days after the wedding, we went to a photographer and had a picture taken of the two of us, so as to send my family a wedding picture, to let them see what my husband looked like. I think we made a good, loving, devoted couple. We created a family, we had two fine sons within the following four years.

January 26: Journalist George Carpozi Jr. interviews Marilyn at the Gladstone Hotel. He is accompanied by photographer George Miller, who accompanies Marilyn, dressed in a dark fur coat, on a walk through Central Park. She drives with DiMaggio to Cooperstown, New York, to see his induction into the Baseball Hall of Fame. They also visit his brother Dominic and Dominic’s wife Emily, who are living near Boston.

So who is the woman who excites Diana’s feelings? From the moment photographs of Camilla fluttered from Prince Charles’s diary during their honeymoon to the present day, the Princess of Wales has understandably harboured every kind of suspicion, resentment and jealousy about the woman Charles loved and lost during his bachelor days. Camilla is from sturdy county stock with numerous roots in the aristocracy. She is the daughter of Major Bruce Shand, a well-to-do wine merchant, Master of Fox Hounds and the Vice Lord Lieutenant of East Sussex. Her brother is the adventurer and author Mark Shand, who was once an escort of Bianca Jagger and model Marie Helvin, and is now married to Clio Goldsmith, niece of the grocery millionaire. Camilla is related to Lady Elspeth Howe, wife of the former Chancellor of the Exchequer, and the millionaire builder, Lord Ashcombe. Her great-grandmother was Alice Keppel who for many years was the mistress of another Prince of Wales, Edward VII. She was married to a serving Army officer and once said that her job was to “curtsey first--and then leap into bed.

Caroline, now nine, was eager to meet the Princess of Wales, who had become her ideal of beauty and grace. Her favorite book for years had been Royal Style Wars, which consisted of hundreds of color photographs by Tim Graham of Diana and the Duchess of York. Caroline and her friends in Jakarta loved to pore over the color pages to compare Diana’s fashion sense to Fergie’s. Diana always won out in their biased judgment. Caroline wanted to see her dream pictures in person. She was terribly envious that her brother had been the baby lucky enough to have a fairytale nanny.

This story created a sensation when it was first told. It appeared in the papers and many big Physicists and Natural Philosophers were, at least so they thought, able to explain the phenomenon. I shall narrate the event and also tell the reader what explanation was given, and let him draw his own conclusions. This was what happened. A friend of mine, a clerk in the same office as myself, was an amateur photographer; let us call him Jones. Jones had a half plate Sanderson camera with a Ross lens and a Thornton Picard behind lens shutter, with pneumatic release. The plate in question was a Wrattens ordinary, developed with Ilford Pyro Soda developer prepared at home. All these particulars I give for the benefit of the more technical reader. Mr. Smith, another clerk in our office, invited Mr. Jones to take a likeness of his wife and sister-in-law. This sister-in-law was the wife of Mr. Smith's elder brother, who was also a Government servant, then on leave. The idea of the photograph was of the sister-in-law. Jones was a keen photographer himself. He had photographed every body in the office including the peons and sweepers, and had even supplied every sitter of his with copies of his handiwork. So he most willingly consented, and anxiously waited for the Sunday on which the photograph was to be taken. Early on Sunday morning, Jones went to the Smiths'. The arrangement of light in the verandah was such that a photograph could only be taken after midday; and so he stayed there to breakfast. At about one in the afternoon all arrangements were complete and the two ladies, Mrs. Smiths, were made to sit in two cane chairs and after long and careful focussing, and moving the camera about for an hour, Jones was satisfied at last and an exposure was made. Mr. Jones was sure that the plate was all right; and so, a second plate was not exposed although in the usual course of things this should have been done. He wrapped up his things and went home promising to develop the plate the same night and bring a copy of the photograph the next day to the office. The next day, which was a Monday, Jones came to the office very early, and I was the first person to meet him. "Well, Mr. Photographer," I asked "what success?" "I got the picture all right," said Jones, unwrapping an unmounted picture and handing it over to me "most funny, don't you think so?" "No, I don't ... I think it is all right, at any rate I did not expect anything better from you ...", I said. "No," said Jones "the funny thing is that only two ladies sat ..." "Quite right," I said "the third stood in the middle." "There was no third lady at all there ...", said Jones. "Then you imagined she was there, and there we find her ..." "I tell you, there were only two ladies there when I exposed" insisted Jones. He was looking awfully worried. "Do you want me to believe that there were only two persons when the plate was exposed and three when it was developed?" I asked. "That is exactly what has happened," said Jones. "Then it must be the most wonderful developer you used, or was it that this was the second exposure given to the same plate?" "The developer is the one which I have been using for the last three years, and the plate, the one I charged on Saturday night out of a new box that I had purchased only on Saturday afternoon." A number of other clerks had come up in the meantime, and were taking great interest in the picture and in Jones' statement. It is only right that a description of the picture be given here for the benefit of the reader. I wish I could reproduce the original picture too, but that for certain reasons is impossible. When the plate was actually exposed there were only two ladies, both of whom were sitting in cane chairs. When the plate was developed it was found that there was in the picture a figure, that of a lady, standing in the middle. She wore a broad-edged dhoti (the reader should not forget that all the characters are Indians), only the upper half of her

Gunner Ainslie made a face at his sister-in-law. "'Amateur' is a bit rough, Alice. I took a degree in archaeology, after all." She looked even more confused. "Then why are you a photographer now instead of an archaeologist?" "Because he didn't want to be a burden to the estate like all my other siblings," his brother Elliott, the current Baron Ainslie, answered, giving his wife a squeeze. "Or so he said. Frankly, I think it was a cover so he could take pictures of unclothed women.

precision of a photograph, but the image was delineated in paint.  She looked at her little brother with a mixture of affection and exasperation. She appreciated the gesture, and God, Jay had real talent, but what on Earth made him think she’d want a picture

He was the brother of the one that [I’d photographed]. I was just walking in the mall, ran into him, didn’t know him from Adam—how many are the chances of that happening? Astronomical.” When I read this, I stared at it. Was this a slip of the tongue by a serial killer who severed heads, who’d admitted being in Miami when the Walsh child was reported lost?

As a boy, I was fascinated by speed, the wild range of speeds in the world around me. People moved at different speeds; animals much more so. The wings of insects moved too fast to see, though one could judge their frequency by the tone they emitted—a hateful noise, a high E, with mosquitoes, or a lovely bass hum with the fat bumblebees that flew around the hollyhocks each summer. Our pet tortoise, which could take an entire day to cross the lawn, seemed to live in a different time frame altogether. But what then of the movement of plants? I would come down to the garden in the morning and find the hollyhocks a little higher, the roses more entwined around their trellis, but, however patient I was, I could never catch them moving. Experiences like this played a part in turning me to photography, which allowed me to alter the rate of motion, speed it up, slow it down, so I could see, adjusted to a human perceptual rate, details of movement or change otherwise beyond the power of the eye to register. Being fond of microscopes and telescopes (my older brothers, medical students and bird-watchers, kept theirs in the house), I thought of the slowing down or the speeding up of motion as a sort of temporal equivalent: slow motion as an enlargement, a microscopy of time, and speeded-up motion as a foreshortening, a telescopy of time. I experimented with photographing plants. Ferns, in particular, had many attractions for me, not least in their tightly wound crosiers or fiddleheads, tense with contained time, like watch springs, with the future all rolled up in them. So I would set my camera on a tripod in the garden and take photographs of fiddleheads at hourly intervals; I would develop the negatives, print them up, and bind a dozen or so prints together in a little flickbook. And then, as if by magic, I could see the fiddleheads unfurl like the curled-up paper trumpets one blew into at parties, taking a second or two for what, in real time, took a couple of days.

Just out of interest, not for the piece, what was the story of the little dark picture?” Theodore paused. “Well, it was the night before an engagement. In Virginia. Our Union boys were in their trenches, and the Confederates in theirs, not more than a couple of stone’s throw away. It was quite silent. The moonlight, as you saw, was falling on the scene. There must’ve been all ages, I suppose, between those trenches. Men well into middle years. And plenty who were little more than boys. There were women in the camp, too, of course. Wives, and others. “I supposed they would soon fall asleep. But then, over in the Confederate trenches, some fellow started singing ‘Dixie.’ And soon they were all joining in, right along the line. So they sang ‘Dixie’ at us for a while, then stopped. “Well, sure enough, our boys weren’t going to let it go at that. So a group of ’em started up ‘John Brown’s Body.’ And in no time the whole of our trenches were giving them that. Fine voices too, I may say. “And when they’d done, there was another silence. Then over in the Confederate trench, we heard a single voice. A young fellow by the sound of it. And he started singing a psalm. The twenty-third psalm it was. I’ll never forget that. “As you know, in the South, with the shape-note singing, every congregation is well practiced in the singing of psalms. So again, all along the line, they joined in. Kind of soft. Sweet and low. And maybe it was the moonlight, but I have to say it was the most beautiful sound I ever heard. “But I’d forgotten that many of our boys were accustomed to singing the psalms too. When you consider the profanities you hear spoken every day in camp, you might forget that; but it is so. And to my surprise, our boys began to sing with them. And in a short while, all along the lines, those two armies sang together, free for a moment of their circumstances, as if they were a single congregation of brothers in the moonlight. And then they sang another psalm, and then the twenty-third again. And after that, there was silence, for the rest of the night. “During which time, I took that photograph. “The next morning there was a battle. And before noon, Mr. Slim, I regret to say, there was scarcely a man from either of those trenches left. They had killed each other. Dead, sir, almost every one.” And, caught unawares, Theodore Keller suddenly stopped speaking, and was not able to continue for a minute or two.

Material objects are transitory. The joy they bring is momentary and hollow . . . Strangely, my mantra wasn’t working right then. So, you’ve probably already guessed my secret. I had an addiction . . . or maybe a compulsion was the better word. I was a thief. A shoplifter. And the mere sight of consumer items small enough to conceal within the confines of a purse or a coat pocket gave me twitchy fingers like you wouldn’t believe. It was abhorrent, I knew that, and I struggled daily with my guilt. In fact, I’d been doing so well in my attempts to quit. To be a better person. Six months ago I’d moved to New York to begin a new job as a celebrity photographer/blogger/YouTuber, and I resolved to stop. It was my chance for a fresh start. I hadn’t stolen a single thing in all that time. Yes, the Big Apple remained untouched by my habit for five-finger discounts. And yet, there I stood, just itching to steal that flipping ridiculous bottle of nail polish. I knew the reason why, and her name began with a J. That would be Jackie Fitzpatrick, my mother, and provider of inferiority complexes everywhere. It was summer and I’d come home to Dublin for a visit, see my brother and his fiancée, meet up with some friends. The problem was, I’d committed to staying at Mam’s for the duration. I was only back a day before she started in with the usual comments. When are you ever going to meet a man and settle down? Those baggy jeans do nothing for your figure.

Compare photographs of Jimmy Swaggart and Donald Trump, and they look like brothers from some strange union of Mardi Gras floats: huge heads, strange colors, balloon bodies, mouths disconnected from brains.

became a blurry swirl of shapes and colors narrowing into a luminous spot of white light at the end of a black anoxic tunnel and dissolving into a rapid series of bright sharp images that I recognized at once from my childhood: long forgotten memories of important moments flashing by faster than anything I’d ever experienced, twenty to thirty frames a second, each one of them original, like perfect photographic slides from the archives of my young life, every scene compressed into a complete story with sights and sounds and smells and feelings from the time. Each image was euphoric, rapturous. The smiling face of my beautiful young mother / a gentle touch from her hand on my face / absorbing her love / playing in the sand at the seashore with my father / waves washing up on the beach / feeling the strength and security of his presence / soothing, kind-hearted praise from a teacher at school / faces and voices of adoring aunts and uncles / steam trains coming in at the local railroad station / hearing myself say “choo-choo” / the excitement of shared discovery with my brother on Christmas morning / running free through a familiar forest with a happy dog / hitting a baseball hard and hearing encouraging cries from my parents behind me in the bleachers / shooting baskets in a backyard court with a buddy from high school / a tender kiss from the soft warm lips of a lovely teenage girl / the encouraging thrust of her stomach and thighs against mine.

Realistically speaking, every teenaged girl spends a lot of time convinced that something is deeply, profoundly wrong with her, and I was no exception. All the world hates a girl, in special and vicious ways that goes way beyond even the mountain of shit we shovel onto young dudes. They get toxic masculinity and we get “you throw like a girl” and “scream like a girl” and “you’re such a pretty girl.” Mansplaining and creepers on BART and whistling out of car windows. I internalized the full measure of girl-hating, hating the sound of my recorded voice, the sight of my photographed face, my own body in the mirror. I hated my handwriting, the loopy letters I’d taught myself to draw when we first moved to America and I’d had to unlearn Russian and figure out the strange English glyphs all the perfect girls could write perfectly. I hated my hair and the way I walked. I hated my tits and I hated my bras. I hated my mother and I hated all the girls in the world, more than anything. Even more than boys. I don’t believe I was special in this regard. There’s a lot of self-hating girls out there in the world. We’re the secret, seething, silent majority. Some starve. Some cut. Some try to screw their way to happiness. Me, I idolized strong, powerful women who seemed to have risen above it all. Never mind that they were drunks or sadists or war criminals. They were leaning in, doin’ it for themselves, and that was what counted. Compared to being trapped in girlhood, alcoholism and war crimes were small potatoes. (less)

My BB got out of bed, grabbed his camera and handed it to Josef asking him to snap away, while we were in the throes of passion. As we resumed our play, Josef took photographs with one hand, and with his other he began masturbating. He captured some beautiful moments. I gave myself completely to Nikee that night, like the very first time we made love by Swan Lake at Daltonbury Hall. I look at the photographs to this day and reminisce about Nikee, my beloved big brother in his prime!

A couple of weeks after Mia’s bone graft surgery in January 2014, she received a letter from Congressman Trent Franks of Arizona on official United States congressional letterhead. Mia was so excited about the letter that she stood on the fireplace hearth (the living room stage) and proceeded to read it to the entire family. In the letter, Congressman Franks told Mia that he, too, was born with a cleft lip and palate and underwent many surgeries as a child. He told her he understood how she felt and told her not to get discouraged because he recognized how she is helping so many people. He invited her to Washington, DC, to receive an award from Congress for service to her community. As soon as she had finished reading it to us, she exclaimed, “Can we go?” Knowing how Jase puts little value on earthly awards and how he likes to travel even less, I responded with a phrase that most parents can understand and appreciate: “We’ll see.” Mia immediately ran upstairs and tacked the letter to her bulletin board, full of hope and optimism. How could Jase say no to this? Oh, she knew her daddy well. He couldn’t, and he didn’t. That summer, Mia, Jase, Reed, Cole, and I spent a few days together visiting monuments and historical sites in Washington before meeting Congressman Franks on July 8 in his office on Capitol Hill. Mia’s favorite monument was the Lincoln Memorial because she had learned about it in school, so it was cool to see it “for real.” It was really crowded there, and people were taking pictures of us while we were trying to read about the monument and take photographs ourselves. Getting Jase out of there took a while because of so many fans wanting pictures--he’s very accommodating. That’s why it surprised me that this was Mia’s favorite site. I’m glad she remembers the impact of the monument and didn’t allow the circus of activity from the fans to put a damper on her experience. Congressman Franks presented Mia with a Certificate of Special Congressional Recognition for “outstanding and invaluable service to the community” at a press conference held at the foot of the Capitol steps. Both he and Mia made speeches that day to numerous cameras and reporters. Hearing my ten-year-old daughter speak about her condition and how she hopes people will look to God to help them get through their own problems was an unbelievably proud moment for me, Jase, and her brothers. After the press conference, Congressman Franks took us into the House chamber where Congress was voting on a new bill. He took Mia down to the floor, introduced her to some of his colleagues, and let her push his voting button for him. When some of the other members of Congress saw this, they also asked her to push their voting buttons for them. Of course, Mia wasn’t going to push any buttons without quizzing these representatives about what exactly she was voting for. She needed to know what was in the bill before she pushed the buttons. Once she realized she agreed with the bill and saw that some members were voting “no,” she commented, “That’s just rude.” Mia was thrilled with the experience and told us all how she helped make history. Little does she know just how much history she has made and continues to make.

but the stupefying realization that the paparazzi who chased her car into Paris’s Alma tunnel did nothing to help her. “She was still very much alive in the backseat,” Harry later said, “and those same people that caused the accident, instead of helping, were taking photographs of her while she was dying. They just stood there and watched her die. I will never forgive them.” William agreed.

Because memory is reconstructive, it is subject to confabulation—confusing an event that happened to someone else with one that happened to you or coming to believe that you remember something that never happened. In reconstructing a memory, people draw on many sources. When you remember your fifth birthday party, you may have a direct recollection of your younger brother putting his finger in the cake and spoiling it for you, but you will also incorporate information that you got later from family stories, photographs, home videos, and birthday parties you’ve seen on television. You weave all these elements together into one integrated account. If someone hypnotizes you and regresses you to your fifth birthday party, you’ll tell a lively story about it that will feel terribly real to you, but it will include many of those party details that never actually happened. After a while, you won’t be able to distinguish your actual memory from subsequent information that crept in from elsewhere. That phenomenon is called “source confusion,” otherwise known as the “where did I hear that?” problem.

I thought back on the sit-ins, the protestors with their stoic faces, the ones I'd once scorned for hurling their bodies at the worst things in life. Perhaps they had known something terrible about the world. Perhaps they so willingly parted with the security and sanctity of the black body because neither security nor sanctity existed in the first place. And all those old photographs from the 1960s, all those films I beheld of black people prostrate before clubs and dogs, were not simply shameful, indeed were not shameful at all – they were just true. We are captured, brother, surrounded by the majoritarian bandits of America. And this has happened here, in our only home, and the terrible truth is that we cannot will ourselves to an escape on our own. Perhaps that was, is, the hope of the movement: to awaken the Dreamers, to rouse them to the facts of what their need to be white, to talk like they are white, to think that they are white, which is to think that they are beyond the design flaws of humanity, has done to the world.

From Contrell the links go to all sorts of men with unorthodox tastes. Austrian industrialists. Sheikhs. Three brothers in Detroit with a padlocked metal shed. Online they can peruse the merchandise discreetly and, if need be, ask for more product information—different photographic angles, specific poses. They make their selections. Given immigration confusion, gang influence, and splintered family trees, disappearances aren’t rare when you’re dealing with broke ethnic girls. They’re a renewable resource. Hector Contrell comes in the black of night, and another girl vanishes off the streets and wakes up in a stupor in Islamabad or Birmingham or São Paulo. Some of the girls are kept. Some are designated for onetime use.

But Peter knew that over time, even just a few months’ worth, this memory would fade, like all the others—like the colors of Auntie’s photograph. First the sound of Theo’s voice would be lost, and then the picture itself, the details dissolving into visual static until all that remained was an empty space where his brother had been.

For a moment he was sure that the shadows around the trees had come to life, slithering outward to consume them both. The night blossomed into grays and whites, like an overexposed photograph. The trees glowed niveous and pale.

If the Sussexes had any residual misgivings about whether they wanted out, those doubts vanished when they viewed the Queen’s 2019 televised Christmas message. With their own eyes, they saw that they had been kicked to the margins of the monarchy. Her Majesty eloquently made the point in her speech by saying nothing. The subtext was all in the flotilla of carefully arranged family photographs positioned on her writing desk, a grouping that, in case anyone thinks is accidental, has been artfully changed every year since the monarch’s first televised seasonal message in 1957. The previous Christmas, a family portrait of Charles, Camilla, the five Cambridges, and Harry and Meghan was exhibited at Her Majesty’s elbow. But in December 2019, the Sussexes had evaporated, their image excised as skillfully as Stalin would have done to an apparatchik out of favor. According to author Christopher Andersen, the Queen told the director of the broadcast that all the displayed photographs were fine to remain in the shot except for one. Her Majesty pointed at a winsome portrait of Harry, Meghan, and baby Archie. “ That one,” said the Queen. “I suppose we don’t need that one.” And a happy Christmas to you too, Granny! William was said to have been appalled when he saw the Sussexes had been edited out. He knew his brother well enough to predict a Category 5 tantrum brewing.

Mrs. Hamilton gave him a pitying look. She didn’t believe it any more than her brother did. “We’ve all heard the stories.” “Well, they died here, or died running from here. Who do you think does the killing? It’s them. They come to work every day like killing people is nothing. How can they do that? How can they kill kids and nobody does anything?” Mrs. Hamilton strained to think of a good answer, or maybe another lie, but she couldn’t reply to him for a time. “It’s wrong,” she said. “As wrong as anything I’ve ever seen.” Hearing the truth made Robert’s bones heavy. He sobbed into Mrs. Hamilton’s arms. If she’d been Mama, she would have hugged him for a long while, patting the back of his neck, saying, All right, try to be brave like your papa, and then let him lie down and miss his chores. But she wasn’t Mama, so when the hug was cut short, he could barely stand. “Listen to me,” Mrs. Hamilton said, her words steadying him. “I know.” She’d spoken as if she’d seen it all: the dead boys in the photographs, Gloria’s map, the haint at the church. Every secret thing that only Redbone knew—had known. Robert felt dizzy when he remembered Redbone was dead. “I know what it is to have someone killed by violence—the injustice of it. It’s the worst feeling there is. My late husband, he didn’t die in the war: he got pulled off a train and beaten to death after he got back home. He never made it back to me. I carry that, Robert.” Her eyes were bright with tears. “This is yours to carry. There’s lots of people working to get you out of here, but you won’t find justice in here. If there’s any kind of justice, and I do mean if, it’s waiting outside. After

Known as “Leni,” Helene Bertha Amalie Riefenstahl was born on August 22, 1902. During the Third Reich she was known throughout Germany as a close friend and confidant of the Adolf Hitler. Recognized as a strong swimmer and talented artist, she studied dancing as a child and performed across Europe until an injury ended her dancing career. During the 1920’s Riefenstahl was inspired to become an actress and starred in five motion pictures produced in Germany. By 1932 she directed her own film “Das Blaue Licht.” With the advent of the Hitler era she directed “Triumph des Willens” anf “Olympia” which became recognized as the most innovative and effective propaganda films ever made. Many people who knew of her relationship with Hitler insisted that they had an affair, although she persistently denied this. However, her relationship with Adolf Hitler tarnished her reputation and haunted her after the war. She was arrested and charged with being a Nazi sympathizer, but it was never proven that she was involved with any war crimes. Convinced that she had been infatuated and involved with the Führer, her reputation and career became totally destroyed. Her former friends shunned her and her brother, who was her last remaining relative, was killed in action on the “Eastern Front.” Seeing a bleak future “Leni” Riefenstahl left Germany, to live amongst the Nuba people in Africa. During this time Riefenstahl met and began a close friendship with Horst Kettner, who assisted her with her acknowledged brilliant photography. They became an item from the time she was 60 years old and he was 20. Together they wrote and produced photo books about the Nuba tribes and later filmed marine life. At that time she was one of the world's oldest scuba divers and underwater photographer. Leni Riefenstahl died of cancer on September 8, 2003 at her home in Pöcking, Germany and was laid to rest at the Munich Waldfriedhof.

Richard Kay Richard Kay became friends with Diana, Princess of Wales, through his job as royal correspondent for London’s Daily Mail. After her separation in 1992, he used his knowledge to give a penetrating and unique insight into Diana’s troubled life, and they remained friends until the end. Richard is now diary editor or the Daily Mail and lives in London with his wife and three children. Over the years, I saw her at her happiest and in her darkest moments. There were moments of confusion and despair when I believed Diana was being driven by the incredible pressures made on her almost to the point of destruction. She talked of being strengthened by events, and anyone could see how the bride of twenty had grown into a mature woman, but I never found her strong. She was as unsure of herself at her death as when I first talked to her on that airplane, and she wanted reassurance about the role she was creating for herself. In private, she was a completely different person form the manicured clotheshorse that the public’s insatiable demand for icons had created. She was natural and witty and did a wonderful impression of the Queen. This was the person, she told me, that she would have been all the time if she hadn’t married into the world’s most famous family. What she hated most of all was being called “manipulative” and privately railed against those who used the word to describe her. “They don’t even know me,” she would say bitterly, sitting cross-legged on the floor of her apartment in Kensington Palace and pouring tea from a china pot. It was this blindness, as she saw it, to what she really was that led her seriously to consider living in another country where she hoped she would be understood. The idea first emerged in her mind about three years before her death. “I’ve got to find a place where I can have peace of mind,” she said to me. She considered France, because I was near enough to stay in close touch with William and Harry. She thought of America because she--naively, it must be said--saw it as a country so brimming over with glittery people and celebrities that she would be able to “disappear.” She also thought of South Africa, where her brother, Charles, made a home, and even Australia, because it was the farthest place she could think of from the seat of her unhappiness. But that would have separated her form her sons. Everyone said she would go anywhere, do anything, to have her picture taken, but in my view the truth was completely different. A good day for her was one where her picture was not taken and the paparazzi photographers did not pursue her and clamber over her car. “Why are they so obsessed with me?” she would ask me. I would try to explain, but I never felt she fully understood. Millions of women dreamed of changing places with her, but the Princess that I knew yearned for the ordinary humdrum routine of their lives. “They don’t know how lucky they are,” she would say. On Saturday, just before she was joined by Dodi Al Fayed for their last fateful dinner at the Ritz in Pairs, she told me how fed up she was being compared with Camilla. “It’s all so meaningless,” she said. She didn’t say--she never said--whether she thought Charles and Camilla should marry. Then, knowing that as a journalist I often work at weekends, she said to me, “Unplug your phone and get a good night’s sleep.

Among other jobs that we did, my brother Bill and I were shoe shine boys in Jersey City and Hoboken during the World War II years. We went from tavern to tavern shining shoes for ten cents and hopefully a generous tip. The Hoboken waterfront bristled with starkly looming, grey hulled Liberty ships. Secured to the piers facing River Street, they brandished their ominous cannons towards what I thought was City Hall. An unappreciated highlight was when I shined Frank Sinatra’s shoes at a restaurant on Washington Street, just west from the Clam Broth House. There was no doubt but that Hoboken was an exciting place during those years. Years later I met Frank at Jilly's saloon, a lounge on West 52d Street in Manhattan, for a few drinks and a little fun around town. Even though I was an adult by then, he still called me “kid!” It was obvious that Frank Sinatra enjoyed friendly relations with Mafia notables such as Carlo Gambino, “Joe Fish” Fischetti and Sam Giancana. Meyer Lansky was said to have been a friend of Sinatra’s parents in Hoboken. During this time Sinatra spoke in awe about Bugsy Siegel and was in an AP syndicated photograph, seen in many newspapers, with Tommy “Fatso” Marson, Don Carlo Gambino 'The Godfather', and Jimmy 'The Weasel, Fratianno. Little wonder that the Federal Bureau of Investigation kept their eye on Sinatra for almost 50 years. A memo in FBI files revealed that Sinatra felt that he could be of use to them. However, it is difficult to believe that Sinatra would have become an FBI informer, better known as a “rat.” It was in May of 1998 when Sinatra, being treated at Cedars-Sinai Medical Center in Los Angeles told his wife Barbara, “I’m losing.” Frank Sinatra died on May 14th at 82 years of age. It is alleged that he was buried with the wedding ring from his ex-wife, Mia Farrow, which she slid unnoticed into his suit pocket during his “viewing.” Aside from his perceived personal and public image, Frank Sinatra’s music will shape his enduring legacy for decades to come. His 100th birthday was celebrated at the Hollywood Bowl on Wednesday, July 22, 2015. Somehow Frank will never age and his music will never fade….

The invention of the roll of film, made possible by the use of celluloid plastic, led directly to the technology of motion pictures. The idea that a picture could be made to “move” by sequentially showing small changes in the image had been known for hundreds of years, but without a flexible transparent material, the only way it could be made to work was using the rotating cylinder of a zoetrope. Celluloid changed everything, allowing a sequence of photographs to be taken on a roll of film and then played back fast enough for the picture to appear to move. This not only allowed a longer sequence of motion to be shown than with the zoetrope, but the moving image could be projected, and so the experience could be shared by the whole audience of a theater. This was the key insight of the Lumière brothers and led to the establishment of the cinema.

The first is in late August, when seventy-one refugees are discovered dead in the back of a smuggler’s truck parked at the side of a road in Austria, with putrid juices dripping from the door. The second comes a week later, when the body of a Kurdish toddler, Alan Kurdi, is photographed face down on a beach in Turkey, having drowned with his brother and mother in a failed attempt to reach Kos. Suddenly Europe cares.

It must be an old photograph of you, out in the yard, looking almost afraid in the crisp, raking light that afternoons in the city held in those days, unappeased, not accepting anything from anybody. So what else is new? I’ll tell you what is: you are accepting this now from the invisible, unknown sender, and the light that was intended, you thought, only to rake or glance is now directed full in your face, as it in fact always was, but you were squinting so hard, fearful of accepting it, that you didn’t know this. Whether it warms or burns is another matter, which we will not go into here. The point is that you are accepting it and holding on to it, like love from someone you always thought you couldn’t stand, and whom you now recognize as a brother, an equal. Someone whose face is the same as yours in the photograph but who is someone else, all of whose thoughts and feelings are directed at you, falling like a gentle slab of light that will ultimately loosen and dissolve the crusted suspicion, the timely self-hatred, the efficient cold directness, the horrible good manners, the sensible resolves and the senseless nights spent waiting in utter abandon, that have grown up to be you in the tree with no view; and place you firmly in the good-natured circle of your ancestors’ games and entertainments.

The Aftermath A lot of time has passed since that fateful day in August of 1965. I visited Oak Island a few months ago. Surprisingly, it felt really good to be there. Parts of the island, untouched by the lust for gold, are still beautiful. As I walked, I thought to myself, This is a good place. More than good. It is a wonderful place. But at the far end of the island--the Money Pit end--everything is different. The beaches have been scraped bare. The clearing, no longer a high, flat expanse, has been gouged out and re-formed into lopsided, jagged terrain. The Money Pit, once part of a 32-foot-high plateau, now sits on misshapen, uneven land, almost down to sea level. That end of the island is ugly, ruined. At home I pull out old photographs and letters and journals. I want to remember a time before the accident, before the deaths, a time when all of Oak Island was a beautiful and happy place; the time when my father, mother, and brothers first came to the island. They had been brimming with enthusiasm. They were embarking on a wonderful adventure, and the Restalls just might be the ones to solve this baffling, centuries-old puzzle. Here was a shot at fortune and fame. They lived in a bubble of good wishes, good cheer, and boundless expectations. It was an extraordinary time, when anything seemed possible. Of course, there was also the back-breaking labour and the endless frustration, but after all, what’s an adventure without adversity? I try to hang on to the good memories of Oak Island, but darker images keep creeping in--the disappointments and obstacles, one-by-one, year after year, that gradually wore the family down. In time, the hunt for treasure crowded out all else in their lives. Nothing mattered but Oak Island and its treasure--at least for my dad. Oak Island does that. Men go there seeking riches and fame, and forget who they are. During my family’s final year, only my father was still steadfast in his belief in the Restall hunt for treasure. By that time, conversations among the four of them were strained. Doubts, disagreements, and long silences had settled in. The hunt for treasure was like a job that took every thought, every bit of energy, every cent. Day after day, nothing but drab, drone-like hark work--no glamour here. It seemed to my mother and brothers that this job was one that would never be finished. Until it was finished--but with such a horrible ending.