Tick Tock Day Quotes

And so it goes. And so it goes. And so it goes. And so it goes goes goes goes goes tick tock tick tock tick tock and one day we no longer let time serve us, we serve time and we are slaves of the schedule, worshipers of the sun's passing, bound into a life predicated on restrictions because the system will not function if we don't keep the schedule tight.

Clocks were invented to warn us. Tick (time is passing). Tock (time has passed).

Dreams do not exist within the realm of hours or minutes or any measure of the day. They live between the tick and the tock. Before the toiling of the bell, past the dawn, and beyond the velvet night.

There are 86,400 seconds in a day. And in any ONE of them you can decide to CHANGE your life. Tick tock tick tock.

When Suzie introduced Helen, she told the audience that one of the best things about books is that they are an interactive art form: that while the author may describe in some detail how a character looks, it is the reader's imagination that completes the image, making it his or her own. "That's why we so often don't like movies made from books, right?" Suzie said. "We don't like someone else's interpretation of what we see so clearly." She talked, too, about how books educate and inspire, and how they soothe the soul-"like comfort food without the calories," she said. She talked about the tactile joys of reading, the feel of a page beneath one's fingers; the elegance of typeface on a page. She talked about how people complain that they don't have time to read, and reminded them that if they gave up half an hour of television a day in favor of reading, they could finish twenty-five books a year. "Books don't take time away from us," she said. "They give it back. In this age of abstraction, of multitasking, of speed for speed's sake, they reintroduce us to the elegance-and the relief!-of real, tick-tock time.

Lord Cut-Glass, in his kitchen full of time, squats down alone to a dogdish, marked Fido, of peppery fish-scraps and listens to the voices of his sixty-six clocks, one for each year of his loony age, and watches, with love, their black-and-white moony loudlipped faces tocking the earth away: slow clocks, quick clocks, pendulumed heart-knocks, china, alarm, grandfather, cuckoo; clocks shaped like Noah's whirring Ark, clocks that bicker in marble ships, clocks in the wombs of glass women, hourglass chimers, tu-wit-tuwoo clocks, clocks that pluck tunes, Vesuvius clocks all black bells and lava, Niagara clocks that cataract their ticks, old time weeping clocks with ebony beards, clocks with no hands for ever drumming out time without ever knowing what time it is. His sixty-six singers are all set at different hours. Lord Cut-Glass lives in a house and a life at siege. Any minute or dark day now, the unknown enemy will loot and savage downhill, but they will not catch him napping. Sixty-six different times in his fish-slimy kitchen ping, strike, tick, chime, and tock.

I think of the beauty in the obvious, the way it forces us to admit how it exists, the way it insists on being pointed out like a bloody nose, or how every time it snows there is always someone around to say, “It’s snowing.” But the obvious isn’t showing off, it’s only reminding us that time passes, and that somewhere along the way we grow up. Not perfect, but up and out. It teaches us something about time, that we are all ticking and tocking, walking the fine line between days and weeks, as if each second speaks of years, and each month has years listening to forever but never hearing anything beyond centuries swallowed up by millenniums, as if time was calculating the sums needed to fill the empty belly of eternity. We so seldom understand each other. But if understanding is neither here nor there, and the universe is infinite, then understand that no matter where we go, we will always be smack dab in the middle of nowhere. All we can do is share some piece of ourselves and hope that it’s remembered. Hope that we meant something to someone. My chest is a cannon that I have used to take aim and shoot my heart upon this world. I love the way an uncurled fist becomes a hand again, because when I take notes, I need it to underline the important parts of you: happy, sad, lovely. Battle cry ballistic like a disaster or a lipstick earthquaking and taking out the monuments of all my hollow yesterdays. We’ll always have the obvious. It reminds us who, and where we are, it lives like a heart shape, like a jar that we hand to others and ask, “Can you open this for me?” We always get the same answer: “Not without breaking it.” More often than sometimes, I say go for it.

This is the house where they found Jack dead. This is the room of the house where they found Jack dead. This is the floor in the room of the house where they found Jack dead. This is the wall, splattered in red, standing next to the floor, in the room of the house where they found Jack dead. This is the door leading into the tomb. This is the wall splattered in red, standing next to the floor in the room of the house where they found Jack dead. This is the clock hanging over the door. This is the wall splattered in red standing next to the floor in the room in the room of the house where they found Jack dead. This is the bird coming out of the clock hanging over the door in the wall by the floor in the room of the house where they found Jack dead. This is the song in the heart of the bird coming out of the clock hanging over the door in the wall by the floor in the room of the house where they found Jack dead. These are the words to the song of the bird coming out of the clock hanging over the door in the wall by the floor in the room of the house where they found Jack dead. This is the man who sits in the cell. Eleven years have come and gone. Jack is dead, but he lives on. He waits in silence, but he still can hear. The ancient song echoes in his ears. The sound of time with its tick tick TOCK! The song of the bird coming out of the clock, hanging over a door leading into a tomb, where there stand four walls splattered all in red, and a floor where a good man fell and bled, in the room of the house where they found Jack dead. These are the words of the cuckoo’s song, as he asks us who will right these wrongs. The cuckoo sings and the cuckoo wails, for the dead who cannot tell their tales. Rage all you want, but at close of day, justice is mine, and I will repay.

They’d never take the standardized tests that they were prepping for. In a way, Amelia had said, this had led to a kind of renaissance in pedagogy. Free from the constraints of racking up high test scores or getting into colleges, students could learn for learning’s sake—which was how it ought to be. The tick-tock curriculum had dissolved and been replaced by activities improvised from day to day by teachers and parents:

Talks just like a little silk-arse gennelman, don't he?" Gasher said happily. "In the old days someone would have paid a wery high price for the return o' such as him, Ticky, ar, so they would. Why, my father--" "Your father died so blowed-out-rotten with the mandrus that not even the dogs would eat him," the Tick-Tock Man interrupted. "Now shut up, you idiot." At first Gasher looked furious...and then only abashed. He sank into a nearby chair and closed his mouth.

It was difficult to sustain the illusion that education was of value for kids who would not live long enough to use it. They’d never take the standardized tests that they were prepping for. In a way, Amelia had said, this had led to a kind of renaissance in pedagogy. Free from the constraints of racking up high test scores or getting into colleges, students could learn for learning’s sake—which was how it ought to be. The tick-tock curriculum had dissolved and been replaced by activities improvised from day to day by teachers and parents: hiking in the mountains, doing art projects about the Cloud Ark, talking with psychologists about death, reading favorite books.

Bohr is really doing what the Stoic allegorists did to close the gap between their world and Homer's, or what St. Augustine did when he explained, against the evidence, the concord of the canonical scriptures. The dissonances as well as the harmonies have to be made concordant by means of some ultimate complementarity. Later biblical scholarship has sought different explanations, and more sophisticated concords; but the motive is the same, however the methods may differ. An epoch, as Einstein remarked, is the instruments of its research. Stoic physics, biblical typology, Copenhagen quantum theory, are all different, but all use concord-fictions and assert complementarities. Such fictions meet a need. They seem to do what Bacon said poetry could: 'give some show of satisfaction to the mind, wherein the nature of things doth seem to deny it.' Literary fictions ( Bacon's 'poetry') do likewise. One consequence is that they change, for the same reason that patristic allegory is not the same thing, though it may be essentially the same kind of thing, as the physicists' Principle of Complementarity. The show of satisfaction will only serve when there seems to be a degree of real compliance with reality as we, from time to time, imagine it. Thus we might imagine a constant value for the irreconcileable observations of the reason and the imagination, the one immersed in chronos, the other in kairos; but the proportions vary indeterminably. Or, when we find 'what will suffice,' the element of what I have called the paradigmatic will vary. We measure and order time with our fictions; but time seems, in reality, to be ever more diverse and less and less subject to any uniform system of measurement. Thus we think of the past in very different timescales, according to what we are doing; the time of the art-historian is different from that of the geologist, that of the football coach from the anthropologist's. There is a time of clocks, a time of radioactive carbon, a time even of linguistic change, as in lexicostatics. None of these is the same as the 'structural' or 'family' time of sociology. George Kubler in his book The Shape of Time distinguished between 'absolute' and 'systematic' age, a hierarchy of durations from that of the coral reef to that of the solar year. Our ways of filling the interval between the tick and tock must grow more difficult and more selfcritical, as well as more various; the need we continue to feel is a need of concord, and we supply it by increasingly varied concord-fictions. They change as the reality from which we, in the middest, seek a show of satisfaction, changes; because 'times change.' The fictions by which we seek to find 'what will suffice' change also. They change because we no longer live in a world with an historical tick which will certainly be consummated by a definitive tock. And among all the other changing fictions, literary fictions take their place. They find out about the changing world on our behalf; they arrange our complementarities. They do this, for some of us, perhaps better than history, perhaps better than theology, largely because they are consciously false; but the way to understand their development is to see how they are related to those other fictional systems. It is not that we are connoisseurs of chaos, but that we are surrounded by it, and equipped for coexistence with it only by our fictive powers. This may, in the absence of a supreme fiction-or the possibility of it, be a hard fate; which is why the poet of that fiction is compelled to say From this the poem springs: that we live in a place That is not our own, and much more, nor ourselves And hard it is, in spite of blazoned days.

Let me stay. Spare me to live another day. The nothingness opens its jaws—Tick . . . . . . tock.

By boosting the electrical quality of deep-sleep brainwave activity, the researchers almost doubled the number of facts that individuals were able to recall the following day, relative to those participants who received no stimulation. Applying stimulation during REM sleep, or during wakefulness across the day, did not offer similar memory advantages. Only stimulation during NREM sleep, in synchronous time with the brain’s own slow mantra rhythm, leveraged a memory improvement. Other methods for amplifying the brainwaves of sleep are fast being developed. One technology involves quiet auditory tones being played over speakers next to the sleeper. Like a metronome in rhythmic stride with the individual slow waves, the tick-tock tones are precisely synchronized with the individual’s sleeping brainwaves to help entrain their rhythm and produce even deeper sleep.

It hasn't been so easy for me, either," Alessandro said. "Not recently. But I'll die before I'm mad like you." "That's your choice," Orfeo told him. "Me, as surely as I stand upon this commode, I'll have the power to wait for the gracious sap. I'll wait in fog, rain, or on the mountaintop, but I'll wait, and the blessed sap will come, and do you know what it will do? I'll tell you. It will fuck the typewriter." Alessandro was stunned. Still, he managed to say, "I saw typewriters in the hall of scribes." "No one said the battle would be easy. They creep upon me like a lapping tick. All day long, tick-tock tick-tock tick-tock, ding! Tick-tock tick-tock tick-tock, ding! Whoever invented that machine...!" His eyes fired in rage.

Wyatt’s grip suddenly tightened and she looked up. He was smiling. Only it wasn’t a full smile. It was one of those ghosted little grins that masked a secret. And it gave her a glimpse of what he must have looked like as a little boy. Adorable . . . Her gaze inched upward to his eyes and all traces of boyhood vanished. A wave of desire, powerful and unexpected, swept through her. Her memory traced a path back to the way he held her in his arms earlier that day, and of his kiss. He hadn’t been the least bit shy then, and at the slightest bit of encouragement, had grown undeniably bolder. “McKenna.” Wyatt’s voice was soft. She blinked, and recognized the earnestness in his eyes. “Will you take me as your husband?” he whispered, indicating the judge with a tilt of his head. “He has a stage to catch.” She thought of Emma, and of Janie. And of all she’d done wrong with Robert in her life. Then she thought of what little she knew about this man before her. He already loved Emma, and Emma loved him. He was a man of honor, kind and— “Yes,” she whispered, forcing the words over the tick-tock of the imaginary clock. “I do.

Semi-Charmed Life" Doo doo doo, doo doo-doo doo... I'm packed and I'm holding I'm smiling, she's living, she's golden She lives for me, says she lives for me Ovation, her own motivation She comes round and she goes down on me And I make her smile, like a drug for you Do ever what you wanna do, coming over you Keep on smiling, what we go through One stop to the rhythm that divides you And I speak to you like the chorus to the verse Chop another line like a coda with a curse Come on like a freak show takes the stage We give them the games we play, she said... I want something else to get me through this Semi-charmed kinda life, baby, baby I want something else, I'm not listening when you say good-bye Doo doo doo, doo doo-doo doo... The sky was gold, it was rose I was taking sips of it through my nose And I wish I could get back there, someplace back there Smiling in the pictures you would take Doing crystal meth, will lift you up until you break It won't stop, I won't come down I keep stock with a tick-tock rhythm, a bump for the drop And then I bumped up, I took the hit that I was given Then I bumped again, then I bumped again I said... How do I get back there to the place where I fell asleep inside you How do I get myself back to the place where you said... I want something else to get me through this Semi-charmed kinda life, baby, baby I want something else, I'm not listening when you say good-bye I believe in the sand beneath my toes The beach gives a feeling, an earthy feeling I believe in the faith that grows And the four right chords can make me cry When I'm with you I feel like I could die And that would be alright, alright And when the plane came in, she said she was crashing The velvet it rips in the city, we tripped on the urge to feel alive Now I'm struggling to survive, Those days you were wearing that velvet dress You're the priestess, I must confess Those little red panties they pass the test Slide up around the belly, face down on the mattress one And you hold me, and we're broken Still it's all that I wanna do, just a little now Feel myself, heading off the ground I'm scared, I'm not coming down No, no And I won't run for my life She's got her jaws now locked down in a smile But nothing is alright, alright And I want something else to get me through this life Baby, I want something else Not listening when you say Good-bye, good-bye, good-bye, good-bye Doo doo doo, doo doo-doo doo... The sky was gold, it was rose (Doo doo doo, doo doo-doo doo...) I was taking sips of it through my nose (Doo doo doo, doo doo-doo doo...) And I wish I could get back there (Doo doo doo, doo doo-doo doo...) Someplace back there, in the place we used to start (Doo doo doo, doo doo-doo doo...) I want something else (Doo doo doo, doo doo-doo doo...) Third Eye Blind (1997)

I’m sick of waiting. Sick of the carousel of thoughts in my brain. I stare at the watch, willing the hands forward on their cheap gears that lose seconds every day. Can’t think of anything but a ghost and how each tick, each tock, takes me farther from him. Farther from the ridiculous slicked-back hair he wore because he thought it made him look like a holostar I liked, or the knockoff Duverchi jackets he’d wear thinking it hid the farmboy underneath. That was his problem—always trying to be something he wasn’t. Always trying to be more. Ate him up in the end and spat him out.

Because one day, the big clock on the mantelpiece will tick and then it won’t tock. Or it’ll tock and then it won’t tick again. That’ll be it.

It’s Okey-Dokey to play the Hokey Pokey in Cahokia Poem You cannot play the Oompa-pah in Galaxy Andromeda. You cannot do the Can-can in Afghanistan. You cannot play ping-pong while sounding a gong. You cannot tick a tock when your name’s Mum to tick-a-lock. Gainsay or naysay to play the Cha-Cha in Panama. Nix beatnik tricks playing Second Fiddle doing a Paradiddle. Try not to play off-key when you know you have bats in your belfry. But it is Okey-Dokey to play the Hokey Pokey in Cahokia. --Poems that Will Never See the Light of Day, vol. I