Photos Of Sad Quotes

I feel a sadness I expected and which comes only from myself. I say I’ve always been sad. That I can see the same sadness in photos of myself when I was small. That today, recognizing it as the sadness I’ve always had, I could almost call it by my own name, it’s so like me.

He wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph. Things should look right. Fun; there should be a lot of fun and no more sadness than absolutely necessary.

When you see such photos, you can't help but wonder at just how sweet and sad and innocent all moments of life are rendered by the tripping of a camera's shutter, for at that point the future is still unknown and has yet to hurt us, and also for that brief moment, our poses are accepted as honest.

Everything,' his father said, 'comes down to time in the end--to the passing of time, to changing. Ever thought of that? Anything that makes you happy or sad, isn't it all based on minutes going by? Isn't sadness wishing time back again? Even big things--even mourning a death: aren't you really just wishing to have the time back when that person was alive? Or photos--ever notice old photographs? How wistful they make you feel? ... Isn't it just that time for once is stopped that makes you wistful? If only you could turn it back again, you think. If only you could change this or that, undo what you have done, if only you could roll the minutes the other way, for once.

A photo frame with many pictures is the best present ever for a long trip. I can almost feel all those moments..

I'd been making desicions for days. I picked out the dress Bailey would wear forever- a black slinky one- innapropriate- that she loved. I chose a sweater to go over it, earrings, bracelet, necklace, her most beloved strappy sandals. I collected her makeup to give to the funeral director with a recent photo- I thought it would be me that would dress her; I didn't think a strange man should see her naked touch her body shave her legs apply her lipstick but that's what happened all the same. I helped Gram pick out the casket, the plot at the cemetery. I changed a few lines in the obituary that Big composed. I wrote on a piece of paper what I thought should go on the headstone. I did all this without uttering a word. Not one word, for days, until I saw Bailey before the funeral and lost my mind. I hadn't realized that when people say so-and-so snapped that's what actually happens- I started shaking her- I thought I could wake her up and get her the hell out of that box. When she didn't wake, I screamed: Talk to me. Big swooped me up in his arms, carried me out of the room, the church, into the slamming rain, and down to the creek where we sobbed together under the black coat he held over our heads to protect us from the weather.

There is always something sad about the old photographs, it is because we know that people in the photos have gone forever.

The next night he asked Jonah if he could take $9.49 out of Jonah's secret stash that only Danny and his mum and Jack knew about. Jonah kept it in his sock drawer next to a photograph of Jonah and a girl with sad eyes, taken in one of those railway station photo booths.

Love transcends time, space, distance, universes. “Love can’t be confined to pages or photos or memories—it’s forever alive and wild and free. Romance comes and goes, lust flickers and smoulders, trials appear and test, life gets in the way and educates, pain can derail happiness, joy can delete sadness, togetherness is more than just a fairy-tale...it’s a choice. “A choice to love and cherish and honour and trust and adore. “A choice to choose love, all the while knowing it has the power to break you. “A choice, dear friends, to give someone your entire heart. “But in the end, love is what life is about. “And love is the purpose of everything.

But, you see, Jo wasn’t a heroine, she was only a struggling human girl like hundreds of others, and she just acted out her nature, being sad, cross, listless, or energetic, as the mood suggested. It’s highly virtuous to say we’ll be good, but we can’t do it all at once, and it takes a long pull, a strong pull, and a pull all together before some of us even get our feet set in the right way.

Chicks appreciate a nice cock shot. Trust me.” Hollis presses his lips together like he’s trying not to laugh. “Uh-huh. Sure.” I flick my ash on the grass and take another drag. “Just out of curiosity, what constitutes a ‘nice cock shot’? I mean, is it the lighting? The pose?” I’m being sarcastic, but Dean responds in a solemn voice. “Well, the trick is, you’ve gotta keep the balls out of it.” That gets a loud hoot out of Tucker, who chokes mid-sip on his beer. “Seriously,” Dean insists. “Balls aren’t photogenic. Women don’t want to see them.” Hollis’s laughter spills over, his breaths coming out in white puffs that float away in the night air. “You’ve put a lot of thought into this, man. It’s kinda sad.” I laugh too. “Wait, is that what you do when you’re in your room with the door locked? Take photos of your cock?” “Oh, come on, like I’m the only one who’s ever taken a dick pic.” “You’re the only one,” Hollis and I say in unison. “Bullshit. You guys are liars.” Dean suddenly realizes that Tucker hadn’t voiced a denial, and wastes no time pouncing on our teammate’s silence. “Ha. I knew it!

I have waited twenty years for this phone call . . . and all this time I thought it would go away. I knew I would always be sad for my sister. But I thought the other would go away.” “What is the other, Henrik?” Though he knew the answer. “Anger . . . I am still angry, Detective Bosch.” Bosch nodded. He looked down at his desk, at the photos of all the victims under the glass top. Cases and faces. His eyes moved from the photo of Anneke Jespersen to some of the others. The ones he had not yet spoken for. “So am I, Henrik,” he said. “So am I.” - "The Burning Room" by Michael Connelly

Lucas adds: Even so, there is something that has always struck me in the photos . . . my father often looks sad. I guess he didn’t like having to smile on command.

He flipped it open, gently tugged out the oft-touched photo and looked into a pair of familiar golden eyes. "She's happy, Andie," he whispered to his wife. Andromeda Quinn did what she always did. She smiled back at him, her beautiful eyes lit with that bright, golden light Harold Quinn loved so fucking much.

I stare past her at the inspirational kitten posters. There's one of a soaking-wet kitten climbing out of a toilet with the caption "it could be worse!" "Just tell me whatever it is you're thinking," Mrs. Paulsen says. "Whatever is going through your mind right now." "I hope they didn't actually drop a cat in the toilet to get that picture," I choke out. "...Pardon?" "Nothing. Sorry.

It’s that time of the month again… As we head into those dog days of July, Mike would like to thank those who helped him get the toys he needs to enjoy his summer. Thanks to you, he bought a new bass boat, which we don’t need; a condo in Florida, where we don’t spend any time; and a $2,000 set of golf clubs…which he had been using as an alibi to cover the fact that he has been remorselessly banging his secretary, Beebee, for the last six months. Tragically, I didn’t suspect a thing. Right up until the moment Cherry Glick inadvertently delivered a lovely floral arrangement to our house, apparently intended to celebrate the anniversary of the first time Beebee provided Mike with her special brand of administrative support. Sadly, even after this damning evidence-and seeing Mike ram his tongue down Beebee’s throat-I didn’t quite grasp the depth of his deception. It took reading the contents of his secret e-mail account before I was convinced. I learned that cheap motel rooms have been christened. Office equipment has been sullied. And you should think twice before calling Mike’s work number during his lunch hour, because there’s a good chance that Beebee will be under his desk “assisting” him. I must confess that I was disappointed by Mike’s over-wrought prose, but I now understand why he insisted that I write this newsletter every month. I would say this is a case of those who can write, do; and those who can’t do Taxes. And since seeing is believing, I could have included a Hustler-ready pictorial layout of the photos of Mike’s work wife. However, I believe distributing these photos would be a felony. The camera work isn’t half-bad, though. It’s good to see that Mike has some skill in the bedroom, even if it’s just photography. And what does Beebee have to say for herself? Not Much. In fact, attempts to interview her for this issue were met with spaced-out indifference. I’ve had a hard time not blaming the conniving, store-bought-cleavage-baring Oompa Loompa-skinned adulteress for her part in the destruction of my marriage. But considering what she’s getting, Beebee has my sympathies. I blame Mike. I blame Mike for not honoring the vows he made to me. I blame Mike for not being strong enough to pass up the temptation of readily available extramarital sex. And I blame Mike for not being enough of a man to tell me he was having an affair, instead letting me find out via a misdirected floral delivery. I hope you have enjoyed this new digital version of the Terwilliger and Associates Newsletter. Next month’s newsletter will not be written by me as I will be divorcing Mike’s cheating ass. As soon as I press send on this e-mail, I’m hiring Sammy “the Shark” Shackleton. I don’t know why they call him “the Shark” but I did hear about a case where Sammy got a woman her soon-to-be ex-husband’s house, his car, his boat and his manhood in a mayonnaise jar. And one last thing, believe me when I say I will not be letting Mike off with “irreconcilable differences” in divorce court. Mike Terwilliger will own up to being the faithless, loveless, spineless, useless, dickless wonder he is.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

We smile at each other. I ask him if it's unusual to be sad, as we are. He says it's because we've made love in the daytime, with the heat at its height. He says it's always terrible after. He smiles. Says, Whether people love one another or not, it's always terrible. Says it will pass as soon as it gets dark. I say he's wrong, it's not just because it was in the daytime, I feel a sadness I expected and which comes only from myself. I say I've always been sad. That I can see the same sadness in photos of myself when I was small. That today, recognizing it as the sadness I've always had, I could almost call it by my own name, it's so like me. Today I tell him it's a comfort, this sadness, a comfort to have fallen at last into a misfortune my mother has always predicted for me when she shrieks in the desert of her life.

For everyone who never smiled in school photos, for all who’ve wandered city streets not knowing the where they were or feeling alone, I’ve packed kindness.

Every time the women appear, Snowman is astonished all over again. They're every known colour from the deepest black to whitest white, they're various heights, but each one of them is admirably proportioned. Each is sound of tooth, smooth of skin. No ripples of fat around their waists, no bulges, no dimpled orange-skin cellulite on their thighs. No body hair, no bushiness. They look like retouched fashion photos, or ads for a high priced workout program. Maybe this is the reason that these women arouse in Snowman not even the faintest stirrings of lust. It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. These were the places he'd single out, putting his mouth on them. Was it consolation he'd had in mind, kissing the wound to make it better? There was always an element of melancholy involved in sex. After his indiscriminate adolescence he'd preferred sad women, delicate and breakable, women who'd been messed up and who needed him. He'd liked to comfort them, stroke them gently at first, reassure them. Make them happier, if only for a moment. Himself too, of course; that was the payoff. A grateful woman would go the extra mile. But these new women are neither lopsided nor sad: they're placid, like animated statues. They leave him chilled.

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

It made him sad, realising that their smell was going to be gone for good one day. Even if they kept all their clothes, the scent would vanish eventually and become only a memory, just like everything else about them. Sometimes he thought he couldn’t even remember their voices anymore. There were photos of course, but it wasn’t the same. Although he had not hugged either of his parents in years, the thought of not being able to do so was too painful to bear, especially when he felt like he needed it. Eventually he would forget what it had felt like to be near his mum or what kind of a presence his father had. They were just going to be names, mere mentions in conversation that were glazed over and didn’t mean much to anybody.

I actually woke up feeling perfectly fine this morning, but I’m not going to let Holly know that. I like the couch bed. She’s brought me several cups of tea and a cheese & pickle sandwich and I’ve only forgotten to look sad once when she entered the room.

One of my great wishes is that people of the present will see those of the past as friendly (or irritating) acquaintances they can look to for advice. It’s easy to forget that people from the past weren’t the two-dimensional black-and-white photos or line drawings you might encounter in some dry textbooks. They weren’t just gray-faced guys in top hats. They were living, breathing, joking, burping people, who could be happy or sad, funny or boring, cool or the lamest people you ever met in your life. They had no idea they were living in the past. They all thought they were living in the present. Accordingly, like any person, past or present, could be, some of them were smart and kind and geniuses about medicine and also completely dull on a personal level. (I’m trying to come to terms with loving John Snow’s deductive brilliance and being absolutely certain I would never want to spend more than ten minutes talking to him.)

Photos which captures human sadness are the noblest and the most meaningful of all the photos!

My mother's advertising firm specialized in women's accessories. All day long, under the agitated and slightly vicious eye of Mathilde, she supervised photo shoots where crystal earrings glistened on drifts of fake holiday snow, and crocodile handbags-unattended, in the back seats of deserted limousines-glowed in coronas of celestial light. She was good at what she did; she preferred working behind the camera rather than in front of it; and I knew she got a kick out of seeing her work on subway posters and on billboards in Times Square. But despite the gloss and sparkle of the job (champagne breakfasts, gift bags from Bergdorf's) the hours were long and there was a hollowness at the heart of it that-I knew-made her sad.

I am being as honest with myself as possible, which is harder than it sounds. Who wouldn’t rather write down pretty things and pretend they are the truth?’ “My photos are a way of telling stories but without the pressure of all those words. I used to think of them as a way to capture everything that’s good. Everything my life wasn’t. but now I take pictures of all of it: the sad, the disturbing, the ugly.

This is meant to be in praise of the interval called hangover, a sadness not co-terminous with hopelessness, and the North American doubling cascade that (keep going) “this diamond lake is a photo lab” and if predicates really do propel the plot then you might see Jerusalem in a soap bubble or the appliance failures on Olive Street across these great instances, because “the complex Italians versus the basic Italians” because what does a mirror look like (when it´s not working) but birds singing a full tone higher in the sunshine. I´m going to call them Honest Eyes until I know if they are, in the interval called slam clicker, Realm of Pacific, because the second language wouldn´t let me learn it because I have heard of you for a long time occasionally because diet cards may be the recovery evergreen and there is a new benzodiazepene called Distance, anti-showmanship, anti-showmanship, anti-showmanship. I suppose a broken window is not symbolic unless symbolic means broken, which I think it sorta does, and when the phone jangles what´s more radical, the snow or the tires, and what does the Bible say about metal fatigue and why do mothers carry big scratched-up sunglasses in their purses. Hello to the era of going to the store to buy more ice because we are running out. Hello to feelings that arrive unintroduced. Hello to the nonfunctional sprig of parsley and the game of finding meaning in coincidence. Because there is a second mind in the margins of the used book because Judas Priest (source: Firestone Library) sang a song called Stained Class, because this world is 66% Then and 33% Now, and if you wake up thinking “feeling is a skill now” or “even this glass of water seems complicated now” and a phrase from a men´s magazine (like single-district cognac) rings and rings in your neck, then let the consequent misunderstandings (let the changer love the changed) wobble on heartbreakingly nu legs into this street-legal nonfiction, into this good world, this warm place that I love with all my heart, anti-showmanship, anti-showmanship, anti-showmanship.

It's total bullshit. I hate it when people make sadness all deep and beautiful and, like- profound. That's the word it's not profound. It's not beautiful. It sucks. It sucks balls. I think it makes non-sad people feel better. Like, they think if must be a good thing to be sad, because you're getting all this insight into real life and pain or whatever. Like how people say tears are like rain. Fuck off. Tears are just tears and they make your eyes hurt and they won stop when you want them to and ugh you get all those arty photos of girls crying - it's always girls, have you noticed?- and it's so beautiful and tasteful and moving. When the reality is your face goes all blotchy and your nose runs and you can taste it every time you breathe' 'Taste what?' 'It. Pain. Sadness. I'm just saying that sadness isn't beautiful and if it looks that way, it's a lie.

I understand Mike is sad about replacing Jennifer, but we all have to do things that make us sad. Holly asks me to do things that make me sad all the time. Like taking the dogs for a walk or giving her a foot rub. Do I complain about it? Sure, but do I do it anyway? No, but I pay my taxes.

The researchers found that while sadness is an extreme emotion, it is a wholly unviral one. Sadness, like what one might feel to see a stray dog shivering for warmth or a homeless man begging for money, is typically a low-arousal emotion. Sadness depresses our impulse for social sharing. It’s why nobody wanted to share the Magnum photos but gladly shared the ones on the Huffington Post. The HuffPo photos were awe-some; they made us angry, or they surprised us. Such emotions trigger a desire to act—they are arousing—and that is exactly the reaction a publisher hopes to exploit.

Everything comes down to time in the end - to the passing of time, to changing. Ever thought of that? Anything that makes you happy or sad, isn't it all based on minutes going by? Isn't happiness expecting something time is going to bring you? Isn't sadness wishing time back again? Even big things - even mourning a death: aren't you really just wishing to have the time back when that person was alive? Or photos - ever notice old photographs? How wistful they make you feel? Long-ago people smiling, a child who would be an old lady now, a cat that died, a flowering plant that's long since withered away and the pot itself broken or misplaced...Isn't it just that time for once is stopped that makes you wistful? If only you could turn it back again, you think. If only you could change this or that, undo what you have done, if only you could roll the minutes the other way, for once.

I tell my seven-year-old son about his remarkable forefathers. I leave out the bloody details. (For him these people are like knights, which sounds better than hangmen or executioners.) In his bedroom hangs a collage made up of photos of long-dead family members--great-grandparents, great-great-grandparents, their aunts, their uncles, their nephews and nieces..Sometimes at night he wants to hear stories about these people, and I tell him what I know about them. Happy stories, sad stories, frightening stories. For him the family is a safe refuge, a link binding him to many people whom he loves and who love him. I once heard that everyone on this earth is at least distantly related to everyone else. Somehow this is a comforting idea.

Yes,’ said Raphael. ‘Here you can only see a representation of a river or a mountain, but in our world – the other world – you can see the actual river and the actual mountain.’ This annoyed me. ‘I do not see why you say I can only see a representation in this World,’ I said with some sharpness. ‘The word “only” suggests a relationship of inferiority. You make it sound as if the Statue was somehow inferior to the thing itself. I do not see that that is the case at all. I would argue that the Statue is superior to the thing itself, the Statue being perfect, eternal and not subject to decay.’ ‘Sorry,’ said Raphael. ‘I didn’t mean to disparage your world.’ There was a silence. ‘What is the Other World like?’ I asked. Raphael looked as if she did not know quite how to answer this question. ‘There are more people,’ she said at last. ‘A lot more?’ I asked. ‘Yes.’ ‘As many as seventy?’ I asked, deliberately choosing a high, rather improbable number. ‘Yes,’ she said. Then she smiled. ‘Why do you smile?’ I asked. ‘It’s the way you raise your eyebrow at me. That dubious, rather imperious look. Do you know who you look like when you do that?’ ‘No. Who?’ ‘You look like Matthew Rose Sorensen. Like photos of him that I’ve seen.’ ‘How do you know that there are more than seventy people?’ I asked. ‘Have you counted them yourself?’ ‘No, but I’m fairly sure,’ she said. ‘It’s not always a pleasant world, the other world. There’s a lot of sadness.’ She paused. ‘A lot of sadness,’ she said again. ‘It’s not like here.’ She sighed. ‘I need you to understand something. Whether you come back with me or not, it’s up to you. Ketterley tricked you. He kept you here with lies and deceit. I don’t want to trick you. You must only come if you want to.’ ‘And if I stay here will you come back and visit me?’ I said. ‘Of course,’ she said. Other

Another site of Leftist struggle [other than Detroit] that has parallels to New Orleans: Palestine. From the central role of displacement to the ways in which culture and community serve as tools of resistance, there are illuminating comparisons to be made between these two otherwise very different places. In the New Orleans Black community, death is commemorated as a public ritual (it's often an occasion for a street party), and the deceased are often also memorialized on t-shirts featuring their photos embellished with designs that celebrate their lives. Worn by most of the deceased's friends and family, these t-shirts remind me of the martyr posters in Palestine, which also feature a photo and design to memorialize the person who has passed on. In Palestine, the poster's subjects are anyone who has been killed by the occupation, whether a sick child who died at a checkpoint or an armed fighter killed in combat. In New Orleans, anyone with family and friends can be memorialized on a t-shift. But a sad truth of life in poor communities is that too many of those celebrate on t-shirts lost their lives to violence. For both New Orleans and Palestine, outsiders often think that people have become so accustomed to death by violence that it has become trivialized by t-shirts and posters. While it's true that these traditions wouldn't manifest in these particular ways if either population had more opportunities for long lives and death from natural causes, it's also far from trivial to find ways to celebrate a life. Outsiders tend to demonize those killed--especially the young men--in both cultures as thugs, killers, or terrorists whose lives shouldn't be memorialized in this way, or at all. But the people carrying on these traditions emphasize that every person is a son or daughter of someone, and every death should be mourned, every life celebrated.

23 Emotions people feel, but can’t explain 1.    Sonder: The realization that each passerby has a life as vivid and complex as your own. 2.    Opia: The ambiguous intensity of Looking someone in the eye, which can feel simultaneously invasive and vulnerable. 3.    Monachopsis: The subtle but persistent feeling of being out of place. 4.    Énouement: The bittersweetness of having arrived in the future, seeing how things turn out, but not being able to tell your past self. 5.    Vellichor: The strange wistfulness of used bookshops. 6.    Rubatosis: The unsettling awareness of your own heartbeat. 7.    Kenopsia: The eerie, forlorn atmosphere of a place that is usually bustling with people but is now abandoned and quiet. 8.    Mauerbauertraurigkeit: The inexplicable urge to push people away, even close friends who you really like. 9.    Jouska: A hypothetical conversation that you compulsively play out in your head. 10.    Chrysalism: The amniotic tranquility of being indoors during a thunderstorm. 11.    Vemödalen: The frustration of photographic something amazing when thousands of identical photos already exist. 12.    Anecdoche: A conversation in which everyone is talking, but nobody is listening 13.    Ellipsism: A sadness that you’ll never be able to know how history will turn out. 14.    Kuebiko: A state of exhaustion inspired by acts of senseless violence. 15.    Lachesism: The desire to be struck by disaster – to survive a plane crash, or to lose everything in a fire. 16.    Exulansis: The tendency to give up trying to talk about an experience because people are unable to relate to it. 17.    Adronitis: Frustration with how long it takes to get to know someone. 18.    Rückkehrunruhe: The feeling of returning home after an immersive trip only to find it fading rapidly from your awareness. 19.    Nodus Tollens: The realization that the plot of your life doesn’t make sense to you anymore. 20.    Onism: The frustration of being stuck in just one body, that inhabits only one place at a time. 21.    Liberosis: The desire to care less about things. 22.    Altschmerz: Weariness with the same old issues that you’ve always had – the same boring flaws and anxieties that you’ve been gnawing on for years. 23.    Occhiolism: The awareness of the smallness of your perspective. John Koenig, The Dictionary of Obscure Sorrows (Simon & Schuster, November 16, 2021)

The photo I'd found of the four of us would be seared into my memory forever. Our bodies all wrapped around one another's, leaning forward as if we might break into a poorly choreographed tango or waltz at any moment. In the picture, we are frozen this way together, happy, sad, and afraid all at the same time. In the grass, where I made the memory I wanted to keep, we all dance out of the prison doors together, one family, with joy in our smiles and eyes. When we step outside, it is into deep and freshly fallen snow.

With his child passed out on the couch, after arrests and drunk tanks and hospitalizations, Lynch, the undertaker and poet and essayist, looked at his dear addicted son with sad but lucid resignation, and he wrote: “I want to remember him the way he was, that bright and beaming boy with the blue eyes and the freckles in the photos, holding the walleye on his grandfather’s dock, or dressed in his first suit for his sister’s grade-school graduation, or sucking his thumb while drawing at the kitchen counter, or playing his first guitar, or posing with the brothers from down the block on his first day of school.

Christmas won’t be Christmas without any presents,” grumbled Jo, lying on the rug. “It’s so dreadful to be poor!” sighed Meg, looking down at her old dress. “I don’t think it’s fair for some girls to have plenty of pretty things, and other girls nothing at all,” added little Amy, with an injured sniff. “We’ve got Father and Mother, and each other,” said Beth contentedly from her corner. The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, “We haven’t got Father, and shall not have him for a long time.” She didn’t say “perhaps never,” but each silently added it, thinking of Father far away, where the fighting was.

As she looks through the photos, she says quietly, “We had a lot of happy times together. I hope you remember some of them.” When I tell Brian stories about my life, he sees them differently from the way I do. He doesn’t see the loss. He sees the opportunity. The adventure. In front of my mother, he says to me, “No wonder you have so many cool stories,” and she says, “Thank you for saying that, Brian!” For the first time, I start to see my life in a new way. I start to see the opportunity, too. But I’m sad as I watch my mother tell him our stories. I worry that she thinks I hate her, that I won’t remember our better days, her best attempts to give me the happiest possible life.

Daniel opened a dresser drawer and pulled out a bell-sleeved shirt that was tiny enough to have fit Trixie when she was eight. Had she ever worn this in public? He sank down onto the floor, holding the shirt, wondering if all this had been his own fault. He'd forbidden Trixie to buy certain clothes, like the pants she had had on last night, in fact, and that she must have purchased and hidden from him. You saw outfits like those in fashion magazines, outfits so revealing they bordered on porn, in Daniel's opinion. Women glanced at those photo spreads and wished they looked that way, men glanced at them and wished for women who looked that way, and the sad reality was that most of those models were not women at all, but girls about Trixie's age.

It was ten at night and everyone had gone home. I trudged up the dark stairway to clean out my desk. There was no sadness or nostalgia, only disgust that I’d wasted so much time on unnecessary labor when I could have been sleeping and feeling nothing. I’d been stupid to believe that employment would add value to my life. I found a shopping bag in the break room and packed up my coffee mug, the spare change of clothes I kept in my desk drawer along with a few pairs of high heels, panty hose, a push-up bra, some makeup, a stash of cocaine I hadn’t used in a year. I thought about stealing something from the gallery—the Larry Clark photo hanging in Natasha’s office, or the paper cutter. I settled on a bottle of champagne—a lukewarm, and therefore appropriate, consolation.

He was almost at his door when Vik’s earsplitting shriek resounded down the corridor. Tom was glad for the excuse to sprint back toward him. “Vik?” He reached Vik’s doorway as Vik was backing out of it. “Tom,” he breathed, “it’s an abomination.” Confused, Tom stepped past him into the bunk. Then he gawked, too. Instead of a standard trainee bunk of two small beds with drawers underneath them and totally bare walls, Vik’s bunk was virtually covered with images of their friend Wyatt Enslow. There were posters all over the wall with Wyatt’s solemn, oval face on them. She wore her customary scowl, her dark eyes tracking their every move through the bunk. There was a giant marble statue of a sad-looking Vik with a boot on top of its head. The Vik statue clutched two very, very tiny hands together in a gesture of supplication, its eyes trained upward on the unseen stomper, an inscription at its base, WHY, OH WHY, DID I CROSS WYATT ENSLOW? Tom began to laugh. “She didn’t do it to the bunk,” Vik insisted. “She must’ve done something to our processors.” That much was obvious. If Wyatt was good at anything, it was pulling off tricks with the neural processors, which could pretty much be manipulated to show them anything. This was some sort of illusion she was making them see, and Tom heartily approved. He stepped closer to the walls to admire some of the photos pinned there, freeze-frames of some of Vik’s more embarrassing moments at the Spire: that time Vik got a computer virus that convinced him he was a sheep, and he’d crawled around on his hands and knees chewing on plants in the arboretum. Another was Vik gaping in dismay as Wyatt won the war games. “My hands do not look like that.” Vik jabbed a finger at the statue and its abnormally tiny hands. Wyatt had relentlessly mocked Vik for having small, delicate hands ever since Tom had informed her it was the proper way to counter one of Vik’s nicknames for her, “Man Hands.” Vik had mostly abandoned that nickname for “Evil Wench,” and Tom suspected it was due to the delicate-hands gibe. Just then, Vik’s new roommate bustled into the bunk. He was a tall, slim guy with curly black hair and a pointy look to his face. Tom had seen him around, and he called up his profile from memory: NAME: Giuseppe Nichols RANK: USIF, Grade IV Middle, Alexander Division ORIGIN: New York, NY ACHIEVEMENTS: Runner-up, Van Cliburn International Piano Competition IP: 2053:db7:lj71::291:ll3:6e8 SECURITY STATUS: Top Secret LANDLOCK-4 Giuseppe must’ve been able to see the bunk template, too, because he stuttered to a stop, staring up at the statue. “Did you really program a giant statue of yourself into your bunk template? That’s so narcissistic.” Tom smothered his laughter. “Wow. He already has your number, man.” Vik shot him a look of death as Tom backed out of the bunk.

Two days later, I started my job. My job involved typing friendly letters full of happy lies to dying children. I wasn't allowed to touch my computer keyboard. I had to press the keys with a pair of Q-tips held by tweezers -- one pair of tweezers in each hand. I’m sorry -- that was a metaphor. My job involved using one of those photo booths to take strips of four photographs of myself. The idea was to take one picture good enough to put on a driver’s license, and to be completely satisfied with it, knowing I had infinite retries and all the time in the world, and that I was getting paid for it. I’d take the photos and show them to the boss, and he would help me think of reasons the photos weren't good enough. I’d fill out detailed reports between retakes. We weren't permitted to recycle the outtakes, so I had to scan them, put them on eBay, arrange a sale, and then ship them out to the buyer via FedEx. FedEx came once every three days, at either ten minutes till noon or five minutes after six. I’m sorry -- that was a metaphor, too. My job involved blowing ping-pong balls across long, narrow tables using three-foot-long bendy straws. At the far end of the table was a little wastebasket. My job was to get the ping-pong ball into that wastebasket, using only the bendy straw and my lungs. Touching the straw to the ping-pong ball was grounds for a talking-to. If the ping-pong ball fell off the side of the table, or if it missed the wastebasket, I had to get on my computer and send a formal request to commit suicide to Buddha himself. I would then wait patiently for his reply, which was invariably typed while very stoned, and incredibly forgiving. Every Friday, an hour before Quitting Time, I'd put on a radiation suit. I'd lift the wastebaskets full of ping-pong balls, one at a time, and deposit them into drawstring garbage bags. I'd tie the bags up, stack them all on a pallet, take them down to the incinerator in the basement, and watch them all burn. Then I'd fill out, by hand, a one-page form re: how the flames made me feel. "Sad" was an acceptable response; "Very Sad" was not.

My parents died one after the other my junior year of college—first my dad from cancer, then my mother from pills and alcohol six weeks later. All of this, the tragedy of my past, came reeling back with great force that night I woke up in the supply closet at Ducat for the last time. It was ten at night and everyone had gone home. I trudged up the dark stairway to clean out my desk. There was no sadness or nostalgia, only disgust that I’d wasted so much time on unnecessary labor when I could have been sleeping and feeling nothing. I’d been stupid to believe that employment would add value to my life. I found a shopping bag in the break room and packed up my coffee mug, the spare change of clothes I kept in my desk drawer along with a few pairs of high heels, panty hose, a push-up bra, some makeup, a stash of cocaine I hadn’t used in a year. I thought about stealing something from the gallery—the Larry Clark photo hanging in Natasha’s office, or the paper cutter. I settled on a bottle of champagne—a lukewarm, and therefore appropriate, consolation.

At the time that he had seriously begun to consolidate his organization, Parker was working in a custom photo lab. The reader who is not much taken by audiovisual pastimes may have a deficient picture of that place where Parker was employed; or perhaps not so much a deficient picture--the dyes faded, shoddily spotted, brutishly burned in and doltishly dodged by subhuman technicians under the glare of the enlargers--as an image which had been misfiled in the archives of the memory, representing instead one of those bleak Photo Drive-Ups and Presto Printses located nowadays on the corner of almost every large parking lot, in which the clerks wait sadly behind their glass counters, but no one comes in, and the air becomes darker and darker over the course of the morning as a result of exhaust fumes (there goes another brain cell; ping! - THAT thought will never be completed now); and the pink chubby tots smiling at your from the walls in sample enlargements become steadily more grimy, and by the lunch break they are brown; and the day ticks off on the loud digital clock; and then finally a car creeps into the lot, and a popeyed couple locks that vehicle doors listlessly; they request a reprint of a washed-out snapshot of their son who was killed in the Indian Wars, and they go away; and after a long time here comes a slick-haired teenager who once took a few pix of his girlfriend holding a balloon at the zoo in front of the monkey cage on a dirty overcast day, and the clerk can tell just by looking at this customer that they won’t come out, because the guy’s a loser if the clerk knows anything at all about losers and in fact he knows a hell of a lot about losers because why else would he be stuck with this job?

Self-Obsession & Self-Presentation on Social-Media" Some people always post their cars/bikes photos because they love their cars/bikes so much. Some people always post their dogs/cats/birds/fish/pets photos because they love their pets so much. Some people always post their children’s/families photos because they love their children/families so much. Some people always post their daily happy/sad moments because they love sharing their daily lives so much. Some people always post their poems/songs/novels/writings because they love being poets/lyricists/novelists/writers so much. Some people always copy paste other people’s writings/quotes without mentioning the actual writers name because they love seeking attention/fame so much. [Unacceptable & Illegal] Some people always post their plants/garden’s photos because they love planting/gardening so much. Some people always post their art/paintings because they love their creativity so much. Some people always post their home-made food because they love cooking/thoughtful-presentation so much. Some people always post their makeup/hairstyles selfies because they love wearing makeup/doing hair so much. Some people always post their party related photos because they love those parties so much. Some people always post their travel related photos because they love traveling so much. Some people always post their selfies because they love taking selfies so much. Some people always post restaurant/street-foods because they love eating in restaurants/streets so much. Some people always post their job-related photos because they love their jobs so much. Some people always post religious things because they love spreading their religion so much. Some people always post political things because they love politics/power so much. Some people always post inspirational messages because they love being spiritual. Some people always share others posts because they love sharing links so much. Some people always post their creative photographs because they love photography so much. Some people always post their business-related products because they love advertising so much. And some people always post complaints about other people’s post because they love complaining so much

Jamie guessed he wasn’t sure if calling it a homeless shelter when it was filled with homeless people was somehow offensive. He’d had two complaints lodged against him in the last twelve months alone for the use of ‘inappropriate’ language. Roper was a fossil, stuck in a by-gone age, struggling to stay afloat. He of course wouldn’t have this problem if he bothered to read any of the sensitivity emails HR pinged out. But he didn’t. And now he was on his final warning. Jamie left him to flounder and scanned the crowd and the room for anything amiss.  People were watching them. But not maliciously. Mostly out of a lack of anything else to do. They’d been there overnight by the look of it. Places like this popped up all over the city to let them stay inside on cold nights. The problem was finding a space that would house them. ‘No, not the owner,’ Mary said, sighing. ‘I just rent the space from the council. The ceiling is asbestos, and they can’t use it for anything, won’t get it replaced.’ She shrugged her shoulders so high that they touched the earrings. ‘But these people don’t mind. We’re not eating the stuff, so…’ She laughed a little. Jamie thought it sounded sad. It sort of was. The council wouldn’t let children play in there, wouldn’t let groups rent it, but they were happy to take payment and let the homeless in. It was safe enough for them. She pushed her teeth together and started studying the faded posters on the walls that encouraged conversations about domestic abuse, about drug addiction. From when this place was used. They looked like they were at least a decade old, maybe two. Bits of tape clung to the paint around them, scraps of coloured paper frozen in time, preserving images of long-past birthday parties. There was a meagre stage behind the coffee dispenser, and to the right, a door led into another room. ‘Do you know this boy?’ Roper asked, holding up his phone, showing Mary a photo of Oliver Hammond taken that morning. The officers who arrived on scene had taken it and attached it to the central case file. Roper was just accessing it from there. It showed Oliver’s face at an angle, greyed and bloated from the water.  ‘My God,’ Mary said, throwing a weathered hand to her mouth. It wasn’t easy for people who weren’t exposed to death regularly to stomach seeing something like that.  ‘Ms Cartwright,’ Roper said, leaning a little to his left to look in her eyes as she turned away. ‘Can you identify this person? I know it’s hard—’ ‘Oliver — Ollie, he preferred. Hammond, I think. I can check my files…’ She turned and pointed towards the back room Jamie had spotted. ‘If you want—’ Roper put the phone away.

In our town—our town of shadows, our town of mystery—it seems our buildings have, without reason, begun to disappear completely. Still full of their loyal inhabitants, the buildings and the people all disintegrate soundlessly. The air has been hard to breathe, full of regret and the glassy voices of the unsurprised dead. Our commuters have begun carrying photographs of their loved ones with them to work. On the bus, we look at each other, pictures of our sad wives and doubtful children huddled close to our chests, quietly imagining the silent elaborations of our own deaths. We are disappointed coming home that evening because the many photos betray our cowardice: We live in a town that is disappearing, and worse, like the buildings, our hope is gone and we are no longer surprised by anything.

Even worse, when he's presented with a sleeve of photos, he will speed-thumb through the Billyless images and only alight on himself—laughing broadly, gesturing slickly, winking cheesily, beaming bogusly, slouching sadly, gawking insanely—and wince. Focus a lens on him and he turns into an adverb.

His face was deeply lined and hollow. Dried, emptied of life. And then, in a flash, I recognized him: it was the man from the park bench, from the night I'd run away from home. The man who'd told me his life story, the man whose mouth had relieved my anxiety for one night - and whom I had told my name. Instead of anger, a strange sort of tenderness invaded me. He looked so sad, so forsaken in the photo. Fury awoke in me on his behalf. I could see him being dragged out of the park, into the back of a police van, sitting in some cold underground office, beaten, blackmailed, made to sign this statement that now lay neatly before a bureaucrat.

There was a popular and rather clever saying during the 1960s that asked, “What if they gave a war and nobody came?” This is not quite as ludicrous a concept as it may seem on the surface. There is a constant danger on the battlefield that, in periods of extended close combat, the combatants will get to know and acknowledge one another as individuals and subsequently may refuse to kill each other. This danger and the process by which it can occur is poignantly represented by Henry Metelmann’s account of his experiences as a German soldier on the Russian front during World War II. There was a lull in the battle, during which Metelmann saw two Russians coming out of their foxhole, and I walked over towards them…they introduced themselves…[and] offered me a cigarette and, as a non-smoker, I thought if they offer me a cigarette I’ll smoke it. But it was horrible stuff. I coughed and later on my mates said “You made a horrible impression, standing there with those two Russians and coughing your head off.”…I talked to them and said it was all right to come closer to the foxhole, because there were three dead Russian soldiers lying there, and I, to my shame, had killed them. They wanted to get the [dog tags] off them, and the paybooks…. I kind of helped them and we were all bending down and we found some photos in one of the paybooks and they showed them to me: we all three stood up and looked at the photos…. We shook hands again, and one patted on my back and they walked away. Metelmann was called away to drive a half-track back to the field hospital. When he returned to the battlefield, over an hour later, he found that the Germans had overrun the Russian position. And although there were some of his friends killed, he found himself to be most concerned about what happened to “those two Russians.” “Oh they got killed,” they said. I said: “How did it happen?” “Oh, they didn’t want to give in. Then we shouted at them to come out with their hands up and they did not, so one of us went over with a tank,” he said, “and really got them, and silenced them that way.” My feeling was very sad. I had met them on a very human basis, on a comradely basis. They called me comrade and at that moment, strange as it may seem, I was more sad that they had to die in this mad confrontation than my own mates and I still think sadly about it.

The mental Images were liquifying So I could no longer separate what I was recalling from the past from what I'd seen in detailed photos that afternoon. Like life. I've long suspected that many of my memories from childhood Are actually drawn from old pictures, That they are composed of snapshots, A mosaic of celluloids Images reworked into a remembered reality. Kodak cast backwards. Maybe it's better to recall The pass that way. We rarely take pictures of sad occasions.

When we see a photo of a sad busker, the first person we should think about is that musician, because the photographer is just an intermediary, the important thing is the person who is the subject of the photo.

she wouldn’t have seen the booklet, considering everything going on at the time. The photo that grabbed her attention first was the one front and center. There were four people—Dani, Matthew, Becca, and Todd. She and Matthew used to hang out with Becca and her husband, Todd. The four of them had joined a bowling league and used to get together every few weeks to play mah-jongg. A twinge of sadness swept over her. Dani and Becca used to talk every day, but since Tinsley’s disappearance, they had talked only a handful of times. It wasn’t anyone’s fault. Dani had only one thing on her mind after Tinsley was gone. Conversation became awkward. They both had moved on, gracefully and without guilt. There were truly no words to express what it felt like to lose a child. Dani still held on to hope that Tinsley was alive. She often imagined the homecoming, a surreal moment when she would see her daughter again. She imagined Tinsley would appear as an apparition right up until

Then I read a section in one of the books that featured a long line of photos of a woman making various expressions—transitioning slowly from a sad face to an angry one. A study at the University of Wisconsin showed these pictures to children who had not experienced abuse, then to children who had.[1] The abused kids thought that more of these photos presented an angry threat than the children from normal homes. They were hyperalert to even the smallest twinges in facial expressions.

I once told my mother a story about Charlie Chaplin. She repeated it with such vivid detail over the years that you would think she watched his films every day. I helped her learn more about him, but I never imagined that she had never actually seen any of his movies. A few days ago, I sent her a photo of Chaplin and asked her who he was. She didn't recognize him. "This is an actor," I said. "Have you ever seen any of his films?" "No," she said. "Not even the last one? We were watching it together on TV." "I don't remember that," she said. "I never watch TV with you." I was stunned. How could someone know so much about a person without ever having seen their work? Am I this good at telling stories? I felt like I was in the Twilight Zone. "Not a single person in the world knows me except for you?" I imagined Chaplin asking me angrily. "Not even your own mother?" "No," I would answer sadly. "Not even my mother." I'm pretty sure he wouldn't believe it, everyone knows he was kind of a skeptic.

Was my smart, kind mother really so, to be blunt, stupid? Maybe. My sex is so often disappointing – I remember once reading about a woman who married a man who convinced her that he was a spy. He persuaded her to sign over her life savings to him, to the tune of £130,000, saying that he was undercover and needed it to tide him over until his handlers could safely make contact. She’d never asked for proof, so desperate was she for this ridiculous charade of a love affair to be real. And to compound her humiliation, she’d willingly posed for photos in a weekly magazine and told her story, looking downtrodden and sad.

...but going through old photos just makes me paralytically sad, and I don't really have time to get frozen to the spot, weeping over old photos, most days anyway, the fact that I think you can overdo remembering stuff, you really can...the fact that I remember Declan Kieberds talk at Notre Dame... and he said people fetishize the past...the fact that I can't understand people who want to go over and over old times, getting all nostalgic and stuff, the fact that I'm scared of old times, the fact that old times are soggy, saggy cradles of regret...

Todd the manager was at her cubicle the moment her chair squeaked. “How you doin’, Jane?” he asked in his oft-affected pseudo-Sopranos accent. “Fine.” She stared. He had a new haircut. His white blond hair was now spiked with an incredible amount of pomade that smelled of raspberries, a do that could only be carried off with true success by a fifteen-year-old boy wielding an impressive and permanent glare. Todd was grinning. And forty-three. Jane wondered if politeness required her to offer a compliment on something glaringly obvious. “Uh…you, your hair is different.” “Hey, girls always notice the hair. Right? Isn’t that basically right?” “I guess I just proved it,” she said sadly. “Super. Hey, listen,” he sat on the edge of her desk, “we’ve got a last-minute addition that needs special attention. It may seem like your basic stock photo array, but don’t be fooled! This is for the all-important page sixteen layout. I’d give this one to your basic interns, but I’m choosing you because I think you’d do a super job. What d’you say?” “Sure thing, Todd.” “Su-per.” He gave her two thumbs-up and held them there, smiling, his eyes unblinking. After a few moments, Jane cringed. What did he want her to do? Was she supposed to high-five his thumbs? Touch thumb-pad to thumb-pad? Or did he just leave them there so long for emphasis? The silence quivered. At last Jane opted for raising her own thumbs in a mirror of the Todd salute. “All right, my lady Jane.” He nodded, still with the thumbs up, and kept them up as he walked away. At least he hadn’t asked her out again. Why was it that when she was aching for a man, everyone was married, but when she was giving them up, so many men were so awkwardly single?

Photos Cherish who you are now If you have been sorting and discarding things in the order I recommend, you have likely stumbled across photographs in many different places, perhaps stuck between books on a shelf, lying in a desk drawer, or hidden in a box of odds and ends. While many may already have been in albums, I’m sure you found the odd photo or two enclosed with a letter or still encased in the envelope from the photo shop. (I don’t know why so many people leave photos in these envelopes.) Because photos tend to emerge from the most unexpected places when we are sorting other categories, it is much more efficient to put them in a designated spot every time you find one and deal with them all at the very end. There is a good reason to leave photos for last. If you start sorting photos before you have honed your intuitive sense of what brings you joy, the whole process will spin out of control and come to a halt. In contrast, once you have followed the correct order for tidying (i.e., clothes, books, papers, komono, sentimental items), sorting will proceed smoothly, and you will be amazed by your capacity to choose on the basis of what gives you pleasure. There is only one way to sort photos, and you should keep in mind that it takes a little time. The correct method is to remove all your photos from their albums and look at them one by one. Those who protest that this is far too much work are people who have never truly sorted photos. Photographs exist only to show a specific event or time. For this reason, they must be looked at one by one. When you do this, you will be surprised at how clearly you can tell the difference between those that touch your heart and those that don’t. As always, only keep the ones that inspire joy. With this method, you will keep only about five per day of a special trip, but this will be so representative of that time that they bring back the rest vividly. Really important things are not that great in number. Unexciting photos of scenery that you can’t even place belong in the garbage. The meaning of a photo lies in the excitement and joy you feel when taking it. In many cases, the prints developed afterward have already outlived their purpose. Sometimes people keep a mass of photos in a big box with the intention of enjoying them someday in their old age. I can tell you now that “someday” never comes. I can’t count how many boxes of unsorted photographs I have seen that were left by someone who has passed away. A typical conversation with my clients goes something like this: “What’s in that box?” “Photos.” “Then you can leave them to sort at the end.” “Oh, but they aren’t mine. They belonged to my grandfather.” Every time I have this conversation it makes me sad. I can’t help thinking that the lives of the deceased would have been that much richer if the space occupied by that box had been free when the person was alive. Besides, we shouldn’t still be sorting photos when we reach old age. If you, too, are leaving this task for when you grow old, don’t wait. Do it now. You will enjoy the photos far more when you are old if they are already in an album than if you have to move and sort through a heavy boxful of them.

It read Staff Sargent Douglas Tibbs with the surviving members of his army ranger strike team, Libya 1984. The men in the picture looked solemn, sad. Jonathan had to assume that the keyword from the photo was ‘surviving.

I flew back to the States in December of 1992 with conflicting emotions. I was excited to see my family and friends. But I was sad to be away from Steve. Part of the problem was that the process didn’t seem to make any sense. First I had to show up in the States and prove I was actually present, or I would never be allowed to immigrate back to Australia. And, oh yeah, the person to whom I had to prove my presence was not, at the moment, present herself. Checks for processing fees went missing, as did passport photos, certain signed documents. I had to obtain another set of medical exams, blood work, tuberculosis tests, and police record checks--and in response, I got lots of “maybe’s” and “come back tomorrow’s.” It would have been funny, in a surreal sort of way, if I had not been missing Steve so much. This was when we should have still been in our honeymoon days, not torn apart. A month stretched into six weeks. Steve and I tried keeping our love alive through long-distance calls, but I realized that Steve informing me over the phone that “our largest reticulated python died” or “the lace monitors are laying eggs” was no substitute for being with him. It was frustrating. There was no point in sitting still and waiting, so I went back to work with the flagging business. When my visa finally came, it had been nearly two months, and it felt like Christmas morning. That night we had a good-bye party at the restaurant my sister owned, and my whole family came. Some brought homemade cookies, others brought presents, and we had a celebration. Although I knew I would miss everyone, I was ready to go home. Home didn’t mean Oregon to me anymore. It meant, simply, by Steve’s side. When I arrived back at the zoo, we fell in love all over again. Steve and I were inseparable. Our nights were filled with celebrating our reunion. The days were filled with running the zoo together, full speed ahead. Crowds were coming in bigger than ever before. We enjoyed yet another record-breaking day for attendance. Rehab animals poured in too: joey kangaroos, a lizard with two broken legs, an eagle knocked out by poison. My heart was full. It felt good to be back at work. I had missed my animal friends--the kangaroos, cassowaries, and crocodiles.

Tim Graham Tim Graham has specialized in photographing the Royal Family for more than thirty years and is foremost in his chosen field. Recognition of his work over the years has led to invitations for private sessions with almost all the members of the British Royal Family, including, of course, Diana, Princess of Wales, and her children. Her “magic” was a combination of style and compassion. She instinctively knew what was right for every occasion. One of my favorite photographs is a shot I took in Angola in 1997 that shows her with a young land-mine victim who had lost a leg. This image of the Princess was chosen by the Red Cross to appear on a poster to publicize the tragic reality of land mines. It’s an important part of her legacy. It is difficult to capture such a remarkable person in just one photo, but I like this one a lot because it sums up her warmth and concern. Diana had one of those faces that would be very hard to photograph badly. Over the years, there were times when she was fed up or sad, and those emotions I captured, too. They were relevant at the time. I felt horrified by the news of her death and that she could die in such a terrible, simply tragic way. I couldn’t conceive of how her sons would be able to cope with such a loss. I was asked just before the funeral to photograph Prince Charles taking William and Harry out in public for the first time so they could meet the crowds gathered at Kensington Palace and see the floral tributes. It was the saddest of occasions. I had by then received an invitation to the funeral and was touched to have been the only press photographer asked. After much deliberation, I decided to turn down the chance to be a guest in Westminster Abbey. Having photographed Diana for seventeen years, from the day she appeared as Prince Charles’s intended, right through her public and, on occasion by invitation, her private life, I felt that I had to take the final picture. It was the end of an era. From my press position at the door of the abbey, I watched everyone arrive for the service, including my wife, who had also been invited. During my career, I have witnessed so many historic events from the other side of a camera that I felt compelled to take that last photograph of the Princess’s story. Life has moved on, and the public have found other subjects to fascinate them--not least the now grownup sons of this international icon--but everyone knows Diana was unique.

At some point I must have fallen asleep on the couch I’d been sharing with Chase because an explosion on the TV jerked me awake. “It’s just the movie,” he whispered in my direction and ran his fingers over my cheek, “don’t move yet Princess.” “Don’t move? Why?” “I’m almost done, give me another minute or two.” I heard his hand moving back and forth across the paper slowly and waited until he kneeled down in front of the couch so his face was directly in front of mine. My breath caught and his electric blue eyes glanced down to my barely parted lips. His tongue absently wetted his lips and his teeth lightly bit down on his bottom one as his gaze roamed my face. “Why couldn’t I move?” I managed to ask when he started closing the distance between us. He abruptly stopped and blinked a few times, “Oh, um. Well … here. Just don’t freak out, okay? I wasn’t trying to be creepy.” “You’re not supposed to tell someone not to freak out, those words alone cause them to freak out.” Chase smirked, “Okay, well then don’t hit me or use your pressure point training on me again.” Before I could roll my eyes at him, he brought his sketch pad up in front of me and my jaw dropped. I felt my cheeks burn and he took that the wrong way. Snatching the pad of paper back up, he cursed softly. “I knew it was creepy.” “Chase,” I breathed and shook my head in an attempt to clear my thoughts, “that wasn’t creepy. Can I see it again?” When he didn’t make an attempt to move I reached my arm toward the book, “Please.” He handed it over with a sigh and looked at me with a sad smile, “I’m sorry, but you looked too perfect. I couldn’t let that opportunity pass.” My stupid blush came back with force when he said that and I focused at his drawing. It was amazing, somewhat embarrassing, but remarkable none the less. With the shading and the detail he’d captured of my upper body and face, it almost looked like a black and white photo. It was perfect. From my chest, throat and slightly open mouth to the way my hair fell around my face and my eyelashes rested against my cheeks, it was one hundred percent me. He even had my hand clutching the pillow under my head that was resting on his leg, as well as the blanket that had been pulled up to the swell of my breasts. Goose bumps covered my body as I realized he’d spent however long staring at, and replicating, every part of me while I’d been completely unaware. He was wrong, it wasn’t creepy, it was beautiful and strangely intimate. “Chase, it–” I cleared my throat and tried again, “It’s incredible.” Incredible didn’t cover it. “Yeah?” I looked up into his eyes and smiled, “Yeah.” We stayed there staring at each other, my mind and heart completely torn in two. One half desperately wanted to act on the feelings his drawing had stirred up in me, and the other was screaming at me to sit up and scoot away from him. Before I could try to make a decision, another series of explosions came from the TV and we both jolted away from each other. My

The officials failed to see the danger. The photo opportunity with Diana sitting sadly alone outside the world’s most famous monument to love was laden with ironic potential. But only Diana knew that she was about to publish a tale of cruelty and neglect. Now the woman who had dreamed of marrying a Prince was happy for the world to see that the fairytale had no happy ending. Judy

My favourite quotes, Part Two -- from Michael Connelly's "Harry Bosch" series The Black Box On Bosch’s first call to Henrik, the twin brother of Anneke - Henrik: "I am happy to talk now. Please, go ahead.” “Thank you. I, uh, first want to say as I said in my email that the investigation of your sister’s death is high priority. I am actively working on it. Though it was twenty years ago, I’m sure your sister’s death is something that hurts till this day. I’m sorry for your loss.” “Thank you, Detective. She was very beautiful and very excited about things. I miss her very much.” “I’m sure you do.” Over the years, Bosch had talked to many people who had lost loved ones to violence. There were too many to count but it never got any easier and his empathy never withered. The Burning Room 2 Grace was a young saxophonist with a powerful sound. She also sang. The song was “Somewhere Over the Rainbow,” and she produced a sound from the horn that no human voice could ever touch. It was plaintive and sad but it came with an undeniable wave of underlying hope. It made Bosch think that there was still a chance for him, that he could still find whatever it was he was looking for, no matter how short his time was. ---------------- He grabbed his briefcase off his chair and walked toward the exit door. Before he got there, he heard someone clapping behind him. He turned back and saw it was Soto, standing by her desk. Soon Tim Marcia rose up from his cubicle and started to clap. Then Mitzi Roberts did the same and then the other detectives. Bosch put his back against the door, ready to push through. He nodded his thanks and held his fist up at chest level and shook it. He then went through the door and was gone. The Burning Room 3 “What do you want to know, Bosch?” Harry nodded. His instinct was right. The good ones all had that hollow space inside. The empty place where the fire always burns. For something. Call it justice. Call it the need to know. Call it the need to believe that those who are evil will not remain hidden in darkness forever. At the end of the day Rodriguez was a good cop and he wanted what Bosch wanted. He could not remain angry and mute if it might cost Orlando Merced his due. ------------ “I have waited twenty years for this phone call . . . and all this time I thought it would go away. I knew I would always be sad for my sister. But I thought the other would go away.” “What is the other, Henrik?” Though he knew the answer. “Anger . . . I am still angry, Detective Bosch.” Bosch nodded. He looked down at his desk, at the photos of all the victims under the glass top. Cases and faces. His eyes moved from the photo of Anneke Jespersen to some of the others. The ones he had not yet spoken for. “So am I, Henrik,” he said. “So am I.” Angle of Investigation 1972 They were heading south on Vermont through territory unfamiliar to him. It was only his second day with Eckersly and his second on the job. Now He knew that passion was a key element in any investigation. Passion was the fuel that kept his fire burning. So he purposely sought the personal connection or, short of that, the personal outrage in every case. It kept him locked in and focused. But it wasn’t the Laura syndrome. It wasn’t the same as falling in love with a dead woman. By no means was Bosch in love with June Wilkins. He was in love with the idea of reaching back across time and catching the man who had killed her. The Scarecrow At one time the newsroom was the best place in the world to work. A bustling place of camaraderie, competition, gossip, cynical wit and humor, it was at the crossroads of ideas and debate. It produced stories and pages that were vibrant and intelligent, that set the agenda for what was discussed and considered important in a city as diverse and exciting as Los Angeles.

led us inside, carefully closing the door of the windowless room behind him. We chose a few straight chairs, and he rounded his desk. His face and his expression were flat with the exhaustion that goes along with public service, but there was also a deep-seated concern. It was an expression I saw in the mirror every morning. “So, it wasn’t an accident.” “We’re thinking not.” He sat and shared his sadness with us. “So, how can I help you?” I waited as Lolo asked the inevitable. “We were wondering if you knew of anybody who might wish Audrey ill or might want to do her harm.” “You mean to the point of…?” He seemed dismissive of the idea, so I softened the angle of the conversation. “We’re not absolutely sure that that’s the case, but we’re going to follow up on all the possibilities.” I glanced at the framed photos Herbert had on his desk—there was one of Audrey, one of the Two Two mother and

How do these online distraction systems work? They start with an external trigger or notification. You may visit a Website or sign up for a service. They will then send you an email, follow you on the Internet with ads, or send you a push notification with very specific language that has been tested to get you to click on it. You click on the link and your attachment or connection to that distraction system gets a little bit stronger. You, unintentionally, provide that system with more information when you read an article, add a friend, or comment on a photo. Without realizing it, and behind the scenes, the machinery of distraction is starting to turn. On a scale of 1-10, with 10 being completely attached, you are a 2 at this point. These companies know that you don’t really care about the company itself, but you do care about your friends, family, and co-workers. They leverage these relationships by showing your profile to these contacts. These people are then asked to add you as a contact, friend, or to comment on your photo. Guess what this does? It brings you back to the site and increases the attachment. Think about this just for a second. If a company wants me to come back to their site, then they have a much higher chance of getting me back if they tell me my nephew added me as a friend, or posted a new pic. I care about my nephew. I don’t care about the company. This happens a few times and the attachment goes from a 2 to a 5. Soon, you have more and more connections on the site. Many of these sites have a magic number. Once you cross that threshold they know they really have you. Let’s say it is 10 connections. Once you have 10 connections they know with a level of statistical certainty that they can get you coming back to the site several times a week. Your attachment then goes from a 5 to a 7. All this time they are still pinging you via email, ads or push notifications to get you back to the site. The prompts or triggers to get you back are all external. You may be experiencing uncomfortable emotions like anxiety, sadness, or boredom, but you are not yet feeling these as triggers to go to the site and escape these feelings. Instead, what happens gradually, is that the trigger moves from being external like an email prompt and moves internal. Soon, they do not have to remind you or leverage your relationships to go back to the site. You are now doing it on your own. You are checking it regularly on your own. Your attachment has moved from a 7 to an 8. They’ve got you now, but they don’t completely have you. The tendrils are not yet deep into your brain and that is really where they want to go. They want to get as wrapped around your brain as possible, because the deeper they are - the more unconscious this behavior of checking the site - the more time you spend on the site and the more money they make. When you start living your life, not for what you are actually experiencing at the moment, but instead for how you imagine it will look to other people on these sites, then they really have you. When the experience itself is less meaningful than the image of you on the site and the number of likes it gets, then they are getting really deep. They have moved the center of your self from your actual life and transferred it to the perception of your life on their site. You now mostly live for reactions from other people on these company’s sites. By this time, you are likely refreshing the page, habitually looking at your phone, and wondering why your pic or video has not received more comments or likes. By this time you are fully hooked, as my good friend Nir Eyal would say, and your attachment has gone from an 8 to a full 10. They’ve got you hook, line, and sinker. Scary

What’s this?” he asks, sitting forward. I remove the top off the box and take out a pile of pictures. I hand him one. “This is Jacob,” I say. My eyes fill with tears, and I don’t even try to blink them back. I let them fall over my lashes and onto my cheeks. Paul brushes them away, but I really don’t want him to. I want to feel all of this because I have forced myself not to feel it for so very long. “This is when he was born.” I point to the squirmy little ball of red skin and dark hair. Paul looks from me to it. “He looks like you,” he says. I shake my head. “He looks more like his dad, I think.” These fucking tears keep falling. I’m not crying. It’s like someone opened an emotional dam in me and I can’t get it to close. I don’t want it to. “What happened to his dad?” Paul asks. “He died,” I say. I have to stop and clear my throat. “Drug overdose a few years after Jacob was born. I read about it in the paper.” “I’m so sorry.” I sniff. “I am, too.” I feel like I need to explain, and for the first time ever, I want to. “We were young, and we played around with marijuana and stuff. But I cut it all out when I found out I was pregnant with Jacob. He didn’t. He wasn’t able. It was really sad when I couldn’t be with him anymore. I didn’t have anyone else. But I didn’t really have him, either. The drugs had him, you know?” He nods. I hand him more pictures, and he flips through them. I have looked at them so much that they’re dog-eared in places. He holds one up from when Jacob was about three. “You can’t tell me he doesn’t look like you. Look at those eyes! He’s so handsome.” My eyes fill with tears again, but I smile through them. He is perfect. And I should be able to hear someone say so. “Look at that smirk!” Paul cries when he sees the most recent one. “That is so you!” I grin. I guess he’s right. “Where is your family, Friday?” he asks. “I don’t know,” I tell him. I lay my head on his shoulder and watch as he takes in the photos over and over, poring through the stack so he can point out ways that Jacob looks like me. “They kicked me out when I got pregnant. Terminated their rights.” Paul presses his lips to my forehead and doesn’t say anything. “I thought I knew everything back then.” I laugh and wipe my eyes with the hem of my dress. “Turns out I didn’t know shit.” “Do you ever think about looking for them?” I shake my head. “No. Never.” I point to special pictures of my son. “His mom—her name is Jill—she sometimes sends me special milestone pictures. This is his first tooth he got and the first tooth he lost. And this one is from his first step. That wasn’t even part of the agreement. She just does it because she wants me to know how he’s doing.” I try to grin through the tears. “He’s doing so great. He’s smart. And they can send him to college and to special schools. He takes piano, and he plays sports. And Jill says he likes to paint.” My voice cracks, and I don’t hate that it does. I just let it. “Of course, he does. You’re his mother.” “I just wanted to do what was best for him, you know?” This time, I use Paul’s sleeve to wipe my eyes. I blink hard trying to clear my vision. “That’s what parents do. We do what’s in the best interest of our children.” He kisses me softly. “Thank you for showing me these.

How to Obtain Power of Attorney. This looks interesting.” Was that sarcasm? A slim pamphlet with a sad stock photo of someone holding an old person’s hand. When really getting power of attorney was more like grabbing that old person’s hand and tying it to their side before they could hurt themselves. Or someone else.

pissing on photos, we wake parched in parallel realities i still end up drowning in visions he settles for the horror; hostage to the oddity of normal- comfy spot mirage, as he makes the bed daily so he can lie in it and be secret sad boy; he settles to sleepwalk with fantasy, slitting the throat of actual possibility, begging for a hand job to get through the day, making friends with locked doors and collectors of cookie cutters

we were so thrilled about tomorrow that none of us noticed the sadness wash over Sandrine as if she was a colour photo fading to black-and-white.

The mental images were liquifying so I could no longer separate what I was recalling from the past from what I'd seen in detailed photos that afternoon. Like life. I've long suspected that many of my memories from childhood are actually drawn from old pictures, That they are composed of snapshots, A mosaic of celluloids Images reworked into a remembered reality. Kodak cast backwards. Maybe it's better to recall the past that way. We rarely take pictures of sad occasions.

Joshua’s mother, Lucy Speed, took a special liking to Lincoln, even as she noted his deep sadness. Near the end of his visit, she presented him with an Oxford Bible, saying it was the best cure for depression he would ever find. Not a churchgoer but nevertheless a profoundly spiritual man, Lincoln was moved by the gift. Two decades later, he would send Mrs. Speed a photo of himself after his election as president: “To my very good friend Mrs. Lucy G. Speed (from) whose pious hands I received an Oxford Bible twenty years ago.

Don't you need to check on your mum, though? he asks Ali. "Nah, my brother or Holly are checking in on her tonight." Presumably she's on her own too, since Ali's father upped and offed to continental Europe. It's odd to think that we have something in common, Ali and I: we both grew up without a paternal presence. I reach for the photo of that immortalized dinner party that hasn't yet left the kitchen. "Is this your mum?" I'm pointing to a small but woman with a smile on her face who's standing next to Ali's dad. Even though I'm looking for similarities, I can't see how she turned into the shriveled old woman, with her spiteful pinched mouth, that I encoun tered in the hotel. curvy Ali takes it and squints slightly. "Aye. And my dad. Was that taken here, aye? God, she looks young then." There's a sadness around his eyes, and concern in Ben's as he looks at Ali. "Funny to think our parents all knew one another, and here we are, having a drink together," I muse. "That might be odd in London Town, but it's pretty much par for the course round here," says Ali, putting the photo down. "Very hard to escape the sins of our fathers when everybody around knows exactly what they were." He glances at me. "Shite. Sorry. Let's talk about some thing much less controversial. Like, erm, Scottish independence or something," he says, tongue in cheek.

overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.

It's amazing what the living expect of the dying. We expect wisdom, insight, burst of clarity that are then reported back to the undying in the urgent staccato of a telegram. We expect them to reminisce over photos, to accept apologies and to make them, to be sad, to be angry, to be grateful. We expect them to clear our consciences, to confirm our fantasies. We expect them to get excited about the idea of being a bird.

Blue I emerge from our yellow linoleum bathroom blue at one end of our single-wide trailer and I have the length of narrow hallway to consider before reaching the living room blue Blue!? And I know my mother is furious You look ridiculous it’s all she says and I do I had torn the pages from a magazine lined my bedroom floor with them and studied those punk rock spiked hair white teeth high fashion popped collar leather studded glossy photos strewn across my small space like a spread of tarot cards telling me a future I would never get to not out here not in the white trailer rusting amber thick of trees stretch of reservation of highway that stood between me and whatever else was out there record stores the mall parking lots where kids were skateboarding and smoking pot probably kids with boom boxes and bottles of beer out there were beaches with bands playing on them and these faces these shining faces with pink green purple and blue hair blue I could get that at least I could mix seventeen packets of blue raspberry Kool-Aid with a little water and I could get that it was alchemy it was potion-making but no one told me about the bleach about my dark hair needing to lift to lighten in order to get that blue no one told me that the mess of Kool-Aid would only run down my scalp my face my neck would stain me blue Blue is what you taste like he says still holding me on the twin bed in the glow of dawn my teenage curiosity has pushed me to ask What does my body taste like to you his fingers travel from neck to navel breath on my thigh and here in our sacred space he answers simply Blue you taste blue and I wonder if what he means is sad you taste sad taqʷšəblu the name is given to me when I am three to understand it my child brain has to break it apart taqʷšəblu talk as in talking as in to tell as in story sha as in the second syllable of my English name as in half of me blue as in the taste of me blue as in sad my grandmother was taqʷšəblu before me and now I am taqʷšəblu too

Have you ever looked at a picture of yourself when you were a kid? Or pictures of famous people when they were kids? It seems to me that they can either make you happy or sad. There's a lovely picture of Paul McCartney as a little boy, and the first time I saw it, it made me feel good: all that talent, all that money, all those years of blissed-out domesticity, a rock-solid marriage and lovely kids, and he doesn't even know it yet. But then there are others — JFK and all the rock deaths and fuckups, people who went mad, people who came off the rails, people who murdered, who made themselves or other people miserable in ways too numerous to mention, and you think, stop right there! This is as good as it gets! Over the last couple of years, the photos of me when I was a kid, the ones that I never wanted old girlfriends to see . . . well, they've started to give me a little pang of something, not unhappiness, exactly, but some kind of quiet, deep regret. There's one of me in a cowboy hat, pointing a gun at the camera, trying to look like a cowboy but failing, and I can hardly bring myself to look at it now. Laura thought it was sweet (she used that word! Sweet, the opposite of sour!) and pinned it up in the kitchen, but I've put it back in a drawer. I keep wanting to apologize to the little guy: 'I'm sorry, I've let you down. I was the person who was supposed to look after you, but I blew it: I made wrong decisions at bad times, and I turned you into me.

From my understanding, this is a matter of value?” asked Andrei. “Like other men have had her leg, so her leg doesn’t mean anything to you anymore?” “No... no, that’s not even it. It’s that you can’t pretend to give someone your leg. Even if it’s just a photo. Legs can’t pretend. You can, but legs can’t. And when someone gets your leg, it’s given. And you multiply that by a hundred, but she has only two. Two little legs. And it’s as if her legs know. The body is not meant to be mass distributed, Andrei. We’re not large gods in Olympus—we need assistance climbing up the stairs and eventually porcelain teeth to chew our food. Thousands of strangers have every part of my girlfriend’s body, down to the ears. But the one thing they don’t have is a woman in the other room sending herself away. They don’t have that,” cried Raphael. “I have that.

It’s easy to forget that people from the past weren’t the two-dimensional black-and-white photos or line drawings you might encounter in some dry textbooks. They weren’t just gray-faced guys in top hats. They were living, breathing, joking, burping people, who could be happy or sad, funny or boring, cool or the lamest people you ever met in your life. They had no idea they were living in the past. They all thought they were living in the present.

The photos hide everything: the twenties that do not roar for the Hoels. The Depression that costs them two hundred acres and sends half the family to Chicago. The radio shows that ruin two of Frank Jr.’s sons for farming. The Hoel death in the South Pacific and the two Hoel guilty survivals. The Deeres and Caterpillars parading through the tractor shed. The barn that burns to the ground one night to the screams of helpless animals. The dozens of joyous weddings, christenings, and graduations. The half dozen adulteries. The two divorces sad enough to silence songbirds. One son’s unsuccessful campaign for the state legislature. The lawsuit between cousins. The three surprise pregnancies. The protracted Hoel guerrilla war against the local pastor and half the Lutheran parish. The handiwork of heroin and Agent Orange that comes home with nephews from ’Nam. The hushed-up incest, the lingering alcoholism, a daughter’s elopement with the high school English teacher. The cancers (breast, colon, lung), the heart disease, the degloving of a worker’s fist in a grain auger, the car death of a cousin’s child on prom night. The countless tons of chemicals with names like Rage, Roundup, and Firestorm, the patented seeds engineered to produce sterile plants. The fiftieth wedding anniversary in Hawaii and its disastrous aftermath. The dispersal of retirees to Arizona and Texas. The generations of grudge, courage, forbearance, and surprise generosity: everything a human being might call the story happens outside his photos’ frame. Inside the frame, through hundreds of revolving seasons, there is only that solo tree, its fissured bark spiraling upward into early middle age, growing at the speed of wood.

Yeah, of course I hated too. Facebook most of all, if you have to know. Facebook. Hated it. For me that was the epitome of what was wrong with society. ’Cause why, you’ve got all these friends, but they’re not real friends, just people you can post photos for, of your breakfast and your lunch and your cute kitty. I ask you. Like they really cared. They only cared because they needed you as an audience. Facebook friends were an audience, that’s all. And it made me sick how they all needed an audience. Society got so impersonal, so don’t-care, till we had to validate ourselves on something like Facebook, to an audience of people who don’t give a flying . . . Let me just say, that’s sad. Tragic.

there is such an unfortunate irony in photography these days. for as people pursue desires to visit and capture images of unspoiled landscapes. they inadvertently in the process turn these beautiful locations into anything but unspoiled, regardless of ideals of conservation. and more-so, so many ruin natural beauty by exploiting these magical places with their greed and dreams of success, and regrettable egos with overdeveloped look-at-me-syndromes...sadly sometimes, for so many of us, now the only way today to truly protect an unspoiled place is to not share its beautiful photo or location with anyone, anymore

Delilah discretely checked her watch, wondering how long she needed to stay in order to politely tap out and call it a night. At least another half hour. No, make that twenty minutes. She wouldn’t survive another half hour. She was so focused on appearing focused on Jeff, that she felt the harsh shove at her hip before she saw anything. Jostled to the side, she looked up, startled, already having figured out that someone had slid into the booth next to her, mercilessly bumping her out of the way. She could not have been more surprised to see Brandon or the sweet smile that spread across his face at the sight of her. Blinking a few times, she rapidly took in the scene, once again regretting that she hadn’t finished that second forget spell on him. She also saw that Jeff was just mortified by the intrusion. At least it shut him up for a moment. Before she could think of anything to say, Brandon gave her a sad pitying look and odd words started tumbling from his lips. “Lilah, baby, come home.” “Huh?” What the hell was he talking about? Jeff’s spine got straighter, if that was possible. He huffed and crossed his arms. Brandon gazed deeply into her eyes and kept talking. “We miss you.” We? “Delilah,” Jeff’s tone demanded attention and both she and Brandon turned to face the other man. “Do you know this . . . gentleman?” Clearly ‘gentleman’ was not what he thought Brandon was. Delilah thought maybe ‘insane asylum inmate’ was a better option. What did Brandon mean, ‘we’? She took a sip of her drink to cover for her confusion. Brandon put his right hand out across the table as though to introduce himself, his left arm snaked possessively around Delilah’s shoulders, but she was too confused to react. “I’m Brandon Stewart. Delilah’s husband.” Immediately she choked. Husband? Her wide eyes swung to his face, only to find that he looked perfectly serious. He gave her a sad smile as Jeff voiced her concerns. “Husband?” Brandon didn’t take his eyes off hers. Even as she sat there choking on her drink. Not that he volunteered to hit her on the back or ask if she was going to survive. He just looked sad. “Baby, have you been dating again? You know the doctors think that’s a bad idea.” Then, he turned his sympathetic face to Jeff, “She isn’t well.” That was it! Her anger poured out in her voice, which she barely managed to keep from screeching above the noise level and broadcasting to the entire bar. “Brandon!” Jeff looked taken aback. “You know him? Are you married?” “No!” She shook her head violently. What was Brandon doing? He made his next play before she could form words. “She’s not only married, we have a family.” He shifted his weight, pressing intimately along her from shoulder to thigh, as he fished in his pants pocket for his wallet. He drew out the leaning and fishing a little longer than necessary. Especially considering she was boiling mad. She was married? To him? He deftly plucked a studio portrait of two small children, clearly his own. Delilah had to hand it to him, the little blonde-haired, blue-eyed cuties could easily have been hers. One boy and one girl smiled at the camera, sweet and perfect for all the world, heads pressed together. Brandon made sure she saw the photo before he handed it over to Jeff. “That’s our Tiger and Muffin there. Well,” He smiled like he was all chagrined, “Tyler and Madison.” Then he turned to her, still sweet and sad. “You can’t do this again, baby. Come home.” She simmered, but didn’t speak.

She curls tightly to me kissing me on the lips and cheeks, her body skin to skin to mine, she’s kind of- like- a hyper puppy… you know- wet nose, big sad eyes, giving you lots of unwanted wet kisses, and can’t sit in one place for too long. Now she is pulling on my necklace, the one I am always wearing has my dad’s wedding ring hanging from it-a thin silver chain and the gold band hanging from it, a gift dad gives me- saying- ‘He loves me more than mom, that I am the love of his life.’ Yet sis tugs gently to get my full attention. I ask here- ‘Why are you not wearing your undies?’ And she baby- talks without missing a beat- ‘Be- because you don’t at night so-o why should I’s.’ I knew not too long from now she would be running around the house stark-naked like always, saying it’s because I sleep this way. I am sure mom will say I am a bad role model, but yet there are far worse things she has done, things that mom and dad never need to know about, things that I can even remember right now. If she wants to be in my bad nude, will- I guess that’s okay…? She is just trying to be like me, and that’s sweet. I have saved her butt many times when she has done bad things. I have been like a mom to her, ever since she was born if I wanted to be or not. And she has been there for me when I was a nobody. Yeah, she’s the best pain in the butt a girl can have. ‘Mommy says you have to get up soon, her hand covering her eyes as she walks my room and sees both of us.’ Her breath smells like toothpaste, as she kisses us good morning, and she stumbles over all the stuff lying on the floor and it’s not until I push sis off me that I realize how badly I’m shaking. Mom, she has one of those green face masks sped up, which is some scary-looking crap, pulls she has curlers in her hair. Yet that’s not what’s got me traumatized. ‘It’s Friday,’ I say confused. I thought we were going to the rusty anchor today? Mom said- ‘I thought you didn’t like doing that Karly that you’re too grown up to be with your mommy and Daddy and sissy… always- yes we are all going this upcoming weekend, glad to see you want to go.’ I said- ‘Oh- okay?’ Mom- ‘Karly are you feeling, okay? Are you not your usual descent and moody self? Me- ‘Yah I am a fine mom.’ I have no idea how I got home last night, or what I did or didn’t do. It’s like it never happened, yet I think it did… didn’t it? Maybe I drink too much? Mom said- ‘Um-hum- come on you two bare cuddle bugs it’s getting late.’ Then- I remember getting in the car, with the girls and the fighting it was all coming back to me, as I see my sis run into her room, leaving her nighty behind on my bed. I knew that something looked different about her when I looked her over, I am starting to remember what Ray did to her last night. Yet she seems to be taking it so well- so strange. I have no idea what happened to Jenny or Maddie or Liv, and just thinking about it makes me awful sick, pissed, and yet so worried. I put my feet on the ground, first on my fuzzy shaggy throw rug, and then I step forward feeling the hard would under my feet. The cold wood reminds me. When I was younger, I would lie on the floor all summer wishing I have some friends to spend my time with. Back then my only friend was my sis and my horse, I’m curious to do the same thing now, and reflect a bit on what the heck is going on- and also on how things have changed, I know my sis will be another half hour getting ready. And with me, all I have to do is jump in my outfit laying there on the floor. My skin feels so cold yet, yet on the inside, I feel scorching. Like- photos on Instagram, all these snapshots start scrolling, row after row in my mind. Seeing bits and pieces of what went down last night. My, I- phone starts vibrating on top of my bed until it falls off the edge hitting me square in the face making me jump two feet in the air. I reach for it and slide my finger over the cracked screen.

What sets my photos in this book apart from other similar works is that all these images were taken during my daily life. No big glitzy photo shoots. No big camera. No heavy bag with lots of lenses. No tripod...I photographed things I thought were beautiful, funny, ironic, spectacular, sad, interesting...

For example, at this time of day the sun made a great deal of her dark red hair. Had Nina known how pretty it looked, she would have taken a photo of herself, but sadly, she was thinking about pickles- sliced, whole, or relish, discuss- and missed the opportunity.

As I looked at the photos, it occurred to me that I was smiling. At last I could remember Lily and smile. I felt the pull of sadness, too, and some tears came, but they were tears of gratitude for having had her in my life. My grief had done much of its work.

I find posing for photos to be yet another expressive outlet. And I share a range of photos to express that in some moments I'm grateful and empowered and in some I've been hurt and struggling or angry. It is all part of me. That's alright. Whether you're on top of the world, dealing with frustration, sad, or feeling goofy... You are not alone and it's never wrong to experience and process your emotions.