Tick Tock Quotes

Tick, tock.

Killing time isn't as difficult as it sounds. I can shoot a hundred numbers through the chest and watch them bleed decimal points in the palm of my hand. I can rip the numbers off a clock and watch the hour hand tick tick tick its final tock just before I fall asleep. I can suffocate seconds just by holding my breath. I've been murdering minutes for hours and no one seems to mind.

Grimly, she realized that clocks don't make a sound that even remotely resembles ticking, tocking. It was more the sound of a hammer, upside down, hacking methodically at the earth. It was the sound of a grave.

We live in time - it holds us and molds us - but I never felt I understood it very well. And I'm not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time's malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing - until the eventual point when it really does go missing, never to return.

Tick Tock Little Fox

You are thinking in human terms again, and forgetting Time is neither tick nor tock... Jarle Heavyfoot

There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals... We tend to hear the sound of a digital clock, for example, as "tick-tock, tick-tock" - even though it is actually "tick tick, tick tick.

Tick tock," Andrew said. "You have my attention; now keep my interest." "Nicky's mother called." "Oops, time's up.

Making knots. Making knots. No word. Making knots. Tick-tock. This is a clock. Do not think of Gale. Do not think of Peeta. Making knots.

You are thinking in human terms again, and forgetting Time is neither tick nor tock...

The fourfold root of the principle of sufficent reason is "Anything perceived has a cause. All conclusions have premises. All effects have causes. All actions have motives.

When the clock Tick Tocks the party never stops!

The clock tick-tocked, solemn and profound. It might have been the dry pulse of the decaying house itself, after a while it whirred and cleared its throat and struck six times.

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.

Tommy told Sal about the strange white-cloth figure with black stitches that he had found on the front porch. "Sounds like Pillsbury Doughboy gone punk," Sal said.

Time is drowning, Hearts are burning, Heads are rolling, Nothing can save you now, Tick tock, tick tock; Creatures talking, Weak are rising, White Queen’s nearing, Nothing can save you now, Tick tock, tick tock; Cards are bleeding, Crowns are sweating, Tea is spilling, Nothing can save you now, Tick tock, tick tock; Red Queen, here’s your warning, Wonderland’s raging, Alice is coming, Highness, time is drowning, And nothing can save you now, Tick tock, tick tock, tick tock…

I did not want to live out my life in the strenuous effort to hold a ghost world together. It was plain as the stars that time herself moved in grand tidal sweeps rather than the tick-tocks we suffocate within, and that I must reshape myself to fully inhabit the earth rather than dawdle in the sump of my foibles.

We're running out of time, he said. As if time were the kind of thing you could run out of, as if it were measured into bowls that were handed to us at birth and if we ate too much or too fast or right before jumping into the water then our time would be lost, wasted, already spent. But time is beyond our finite comprehension. It's endless, it exists outside of us; we cannot run out of it or lose track of it or find a way to hold on to it. Time goes on even when we do not. We have plenty of time, is what Castle should have said. We have all the time in the world, is what he should have said to me. But he didn't because what he meant tick tock is that our time tick tock is shifting. It's hurtling forward heading in an entirely new direction slamming face-first into something else and tick tick tick tick tick it's almost time for war

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

Come on, tick tock – Chuck, Fuck or Marry: Arthur, Lance, Brad Pitt." "Chuck Arthur, Fuck Brad, Marry Lance," she said, without hesitating.

You can’t be here.” “Can’t, shouldn’t, wouldn’t, won’t,” she whispered. “No one saw me go. No one thinks to look for someone who’s always there. They are all looking for you.” “How did you find us?” “You tick, I tock,” she said, her voice so soft that only his ears could pick it up. “I would hear you anywhere.” 

It had a very long pendulum, and the pendulum swung with a slow tick-tock that set his teeth on edge, because it was the the kind of delibrate, annoying ticking that wanted to make it abundantly clear that every tick and every tock was stripping another second off your life.

Tick, tock,” whispers Wiress. I guide her in front of me and get her to lie down, stroking her arm to soothe her. She drifts off, stirring restlessly, occasionally sighing out her phrase. “Tick, tock.” “Tick, tock,” I agree softly. “It’s time for bed. Tick, tock. Go to sleep.

Tick Tock Tick Tock...The clock strikes two ... still haven't got a clue.

Johanna, could you really hear him screaming?" "That was part of it," she says. "Like the jabber jays in the arena. Only it was real. And it didn't stop after an hour. Tick tock.

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.

...judgement had no place here. Evil was not in play, just life pulsing on, even at the expense of some of the participants. Biology sees right and wrong as the same color in different light. Nothing seemed too indecorous as long as the tick & the tock of life carried on. She knew this was not a dark side to Nature, just inventive ways to endure against all odds.

By contrast Hobie lived and wafted like some great sea mammal in his own mild atmosphere, the dark brown of tea stains and tobacco, where every clock in the house said something different and time didn’t actually correspond to the standard measure but instead meandered along at its own sedate tick-tock, obeying the pace of his antique-crowded backwater, far from the factory-built, epoxy-glued version of the world.

I count everything. Even numbers, odd numbers, multiples of 10. I count the ticks of the clock i count the tocks of the clock I count the lines between the lines on a sheet of paper. I count the broken beats of my heart I count my pulse and my blinks and the number of tries it takes to inhale enough oxygen for my lungs. I stay like this I stand like this I count like this until the feeling stops. Until the tears stop spilling, until my fists stop shaking, until my heart stops aching. There are never enough numbers.

Looking down at Dolly, I took my watch from my pocket, raised it to my ear and announced, “Tick tock.

The moon shone in the rocking horsr's eye, and in the mouse's eye, too, when Tolly fetched it out from under his pillow to see. The clock went tick-tock, and in the stillness he heard little bare feet running across the floor, then laughter and whispering, and a sound like the pages of a big book being turned over.

It had a very long pendulum, and the pendulum swung with a slow tick-tock that set his teeth on edge, because it was the kind of deliberate annoying ticking that wanted to make it abundantly clear that every tick and every tock was stripping another second off your life. It was the kind of sound that suggested very pointedly that in some hypothetical hourglass somewhere, another few grains of sand had dropped out form under you.

Each passing moment, every breath I took, I was worried I’d hear a tick, but not live long enough to hear its tock.

Tick-tock,

I tapped the clock drawn in black eyliner around my felt eye. “Tick tock, Rabbit. Always and forever, tick tock.

The chill, like scurrying spiders, worked deeper into him, weaving webs of ice in the hollows of his bones.

Don't be negative. Negative thinking disturbs the fabric of the cosmos.

Everything is more than it seems, but nothing is as mysterious as it appears to be.

Tick-tock, tick-tock, little wolves. Do you feel time slipping away from you? Do you feel the urgency to pursue me, the one who plans your destruction? I am coming, little wolves. Tick-tock, tick-tock; I am coming for you. And one by one you will fall. One by one the wolves will be silenced.

INEZ: To forget about the others? How utterly absurd! I feel you there, in every pore.Your silence clamours in my ears. You can nail up your mouth, cut your tongue out - but you can't prevent your being there. Can you stop your thoughts? I hear them ticking away like a clock, tick-tock, tick-tock, and I'm certain you hear mine. It's all very well skulking on your sofa, but you're everywhere, and every sound comes to me soiled because you've intercepted it on its way. Why, you've even stolen my face; you know it and I don't ! And what about her, about Estelle? You've stolen her from me, too; if she and I were alone do you suppose she'd treat me as she does? No, take your hands from your face, I won't leave you in peace - that would suit your book too well. You'd go on sitting there, in a sort of trance, like a yogi, and even if I didn't see her I'd feel it in my bones - that she was making every sound, even the rustle of her dress, for your benefit, throwing you smiles you didn't see... Well, I won't stand for that, I prefer to choose my hell; I prefer to look you in the eyes and fight it out face to face.

Molly knows the secret to a long walk. Never think about the destination. Just think about the air in your lungs, the motion of your arms and legs. There is a rhythm to it, and once you have found it that rhythm can tick-tock through time forever.

Whatever you expect is what will be, so simply change your expectations.

Have you ever felt time slow so much that that it almost appears to stop? Ever listened to a clock when the next tick seems to take forever to follow the last tock?

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.

Tommy and Scootie locked eyes. Only minutes ago, he wouldn't have believed that he could ever have felt such a kinship with the Labrador as he felt now.

The cold knot of rage in my chest started beating like a clock, a slow, steady countdown to Alexis James’s death. Tick-fucking-tock.

Your tears don't stop the clock.

The fancy things I like are sheets. Pots and pans. And the things I really like aren't fancy at all: old aprons and hankies. Butter wrappers from one pound blocks. Peony bushes, hardback books of poetry. And I like things less than that; the sticky remains at the bottom of the apple crisp dish. The way cats sometimes run sideways. The presence of a rainbow in a puddle of oil. Mayonaise jars. Pussy willows. Wash on a line. The tick-tock of clocks, the blue of the neon sign at the local movie house. The fact that there is a local movie house.

Imagine a place where time is counted by ticks and tocks, but space is measured in sunset Imagine a place where each turn takes you home. Imagine a place where the tang of pine Meets the salt of sea where adventure finds a waiting heart Imagine a place where words shelter you ideas uphold you,and thought lead you to the secret inside the labyrinth ... Imagine a place where castle and cloud Shift from square to square and the world lies in the winner's hand Imagine a place where the sigh of waves spill from your suitcase and drift into your dreams Imagine....here

In a clock the complex action of countless different wheels works its way out in the even, leisurely movement of hands measuring time; in a similar way the complex action of humanity in those 160,000 Russians and Frenchmen – all their passions, longings, regrets, humiliation and suffering, their rushes of pride, fear and enthusiasm – only worked its way out in defeat at the battle of Austerlitz, known as the battle of the three Emperors, the slow tick-tock of the age-old hands on the clock face of human history.

Weetzie and My Secret Agent Lover Man and Dirk and Duck and Cherokee and Witch Baby and Slinkster Dog and Go-Go Girl and the puppies Pee Wee, Wee Wee, Teenie Wee, Tiki Tee, and Tee Pee were driving down Hollywood Boulevard on their way to the Tick Tock Tea Room for turkey platters.

Having poured my drink, I may not live to taste it, or that it may pass a live man's tongue to burn a dead man's belly; that having slumbered, I may never wake, or having waked, may never living sleep. Having heard tick, will I hear tock? Having served, will I volley? Having sugared will I cream? Having eithered, will I or? Itching, will I scratch? Hemming, will I haw?

Clocks are everywhere if you know how to recognize them. A dandelion is a clock, obviously. Rice pouring into a bowl is a clock, each grain marking the passage of time. A school assignment, an apple as it withers, a tree waiting for spring. Each of these things measures living moments, what remains before death. Tick, tock.

His presence makes me feel thin. Not model slender. But worn, like an old cotton housedress. Thin like a specimen pressed between two plates of glass. Like a bug squashed beneath the marching boot of a soldier. Thin and worn and silence like I've never known. This is how I know he is not a Tick. They are as pitiable as they are inhuman. They are fear personified. Their emotions and minds given over to rage and hunger. They are all noise. He is none. If he is not a Tick, does that make him a Tock?

It looks awful lonely here." "Most of the world is lonely corners." "I'm not sure it's safe." "Nowhere is safe unless you want it to be.

Tick-tock. This is a clock.

Tick, tock,” I hear behind me. I turn and see Wiress has crawled over. Her eyes are focused on the jungle.

Yeah, we know. Tick, tock. Nuts is in shock,

The doll twitched. Its head turned slightly toward Tommy. Its green eye fixed on him.

Tick. Tick. Tick. This is the sound of your life running out.

Time’s existence cannot be found between the tick and the tock of a clock. It is the language of life and, as such, is most powerfully felt in the context of human experience.

We are like clocks! Always ticking to the tocks. When the pieces of our soul are torn away or broken – we can’t be sent to the mending shop, however.

The Tick-tock of a clock is very uniform and precise, but there is no music in it. You must add some randomness and chaos to create music in life.

Get rid of the dog! Tick Tock!

Hell was full of clocks, he was sure of it. There was no torment, after all, that could not be exacerbated by a contemplation of time passing. The large case clock at the end of the corridor had a particularly penetrating tick-tock, audiable above and through all the noises of the house. It seemed to Lord John Grey to echo his own heartbeats, each one a step on the road towards death.

We live in time—it holds us and moulds us—but I’ve never felt I understood it very well. And I’m not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time’s malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing—until the eventual point when it really does go missing, never to return.

Someone very clever—certainly someone much cleverer than whoever had trained that imp—must have made the clock for the Partrician’s waiting room. It went tick-tock like any other clock. But somehow, and against all usual horological practice, the tick and the tock were irregular. Tick tock tick…and then the merest fraction of a second longer before…tock tick tock…and then a tick a fraction of a second earlier than the mind’s ear was now prepared for. The effect was enough, after ten minutes, to reduce the thinking processes of even the best-prepared to a sort of porridge. The Patrician must have paid the clockmaker quite highly.

a slow tick-tock that set his teeth on edge, because it was the kind of deliberate, annoying ticking that wanted to make it abundantly clear that every tick and every tock was stripping another second off your life.

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.

They didn’t slice time into a series of individual moments and then stitch them back together with anxious anticipation.  They didn’t keep appointment books to make themselves accountable for each minute.  There was neither tick nor tock.

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.

Some female insects eat their mates, overstressed mammal mothers abandon their young, many males design risky or shifty ways to outsperm their competitors. Nothing seemed too indecorous as long as the tick and the tock of life carried on. She knew this was not a dark side to Nature, just inventive ways to endure against all odds. Surely for humans there was more.

Until now, I've been writing about "now" as if it were literally an instant of time, but of course human faculties are not infinitely precise. It is simplistic to suppose that physical events and mental events march along exactly in step, with the stream of "actual moments" in the outside world and the stream of conscious awareness of them perfectly synchronized. The cinema industry depends on the phenomenon that what seems to us a movie is really a succession of still pictures, running at twenty-five [sic] frames per second. We don't notice the joins. Evidently the "now" of our conscious awareness stretches over at least 1/25 of a second. In fact, psychologists are convinced it can last a lot longer than that. Take he familiar "tick-tock" of the clock. Well, the clock doesn't go "tick-tock" at all; it goes "tick-tick," every tick producing the same sound. It's just that our consciousness runs two successive ticks into a singe "tick-tock" experience—but only if the duration between ticks is less than about three seconds. A really bug pendulum clock just goes "tock . . . tock . . . tock," whereas a bedside clock chatters away: "ticktockticktock..." Two to three seconds seems to be the duration over which our minds integrate sense data into a unitary experience, a fact reflected in the structure of human music and poetry.

We live in time—it holds us and moulds us—but I’ve never felt I understood it very well. And I’m not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. Is there anything more plausible than a second hand?

I rolled my eyes as the elevator door opened. 'I was thinking more along the lines of Tick and Tock. You know they won't--' 'Holy shit, boss! Did you beat him up with your mouth?' Tick exclaimed loudly as he stood from his perch near the elevator doors. '--keep their mouths shut,' I muttered. 'Jesus,' Tock whispered. 'Gay sex is hardcore.' He jumped up and stood next to me, not knowing what personal space meant. 'I think he was trying to eat you,' he told me. 'Or something,' I agreed.

One thing of great importance can affect a small number of people. Equally so, a thing of little importance can affect a multitude. Either way, a happening - big or small - can affect an entire string of people. Occurrences can join us all together. You see, we're all made up of the same stuff. When something happens, it triggers something inside us that connects us to a situation, connects us to other people, lighting us up and linking us like little lights on a Christmas tree, twisted and turned but still connected to a wire. Some go out, others flicker, others burn strong and bright, yet we are all on the same line. I said at the beginning of this story that this was about people who find out who they are. About people who are unraveled and whose cores are revealed to all who count. And that all that count are revealed to them. You thought I was talking about Lou Suffern and the Turkey Boy, about Raphie, Jessica, and Ruth, didn't you? Wrong. I was talking about each of us. A lesson finds the common denominatior and links us all together, like a chain. At the end of that chain dangles a clock, and on the face of the clock registers the passing of time. We see it and we hear it, the hushed tick-tock, but often we don't feel it. Each second makes its mark on every single person's life - comes and then goes, quietly disappearing without fanfare, evaporating into air like steam from a piping hot Christmas pudding. Enough time leaves us warm; when our time is gone, it leaves us cold. Time is more precious than gold, more precious than diamonds, more precious than oil or any valuable treasures. It is time of which we do not have enough; it is time that causes the war within our hearts, and so we must spend it wisely. Time cannot be packaged and ribboned and left under trees for Christmas morning. Time can't be given. But it can be shared.

Everyone thinks his family is strange," Del said, scratching Scootie behind the ears, "but it's just that... because we're closer to the people we love, we tend to see them through a magnifying glass, through a thicker lens of emotion, and we exaggerate their eccentricities.

Samuel was, more than all the others, the man of failed works of beauty; – a fantastical and sickly creature, whose poetry shines forth much more in his person than in his works, and who, around one o’clock in the morning, between the dazzling of a coal fire and the clock’s tick-tock, always seemed to be the god of impotence, – a modern and hermaphrodite god, – so colossal an impotence, so enormous, reaching epic proportions!

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.

By contrast Hobie lived and wafted like some great sea mammal in his own mild atmosphere, the dark brown of tea stains and tobacco, where every clock in the house said something different and time didn’t actually correspond to the standard measure but instead meandered along at its own sedate tick-tock, obeying the pace of his antique-crowded backwater, far from the factory-built, epoxy-glued version of the world. Though he enjoyed going out to the movies, there was no television; he read old novels with marbled end papers; he didn’t own a cell phone; his computer, a prehistoric IBM, was the size of a suitcase and useless.

Billy leaned forward. 'What's he like?' he whispered conspiratorially. 'Who?' Tock asked, looking confused. 'Felix. The Split One. I heard he came in this afternoon shooting fire and wind from his hands and told the Council to shove it.' 'Uh, not quite,' Tick said. 'He kind of waved to everyone and went upstairs.'

…it was during a period he had so much time on his hands that he felt that time had stopped. How could time have stopped? ‘Because,’ he said, ‘and you will understand this when you are older, sometimes you feel that everything around you has come to an end. You feel that you are completely alone, that time is frozen and that you are invisible. At first, you might feel exhilarated by the sense of freedom, but then you’ll be frightened that you are lost and you will never be able to go back.’ He explained that when he first felt this, he had been isolated and afraid and had prised open his watch case to verify that time was indeed passing. The rhythm of the watch might have been imagined. Sound was not enough, he needed to see and touch it. It was the first time that he had dismantled a mechanism. The turning wheels, ticking each second away, had reassured him. It was then that he had comprehended the importance of time.

disposal." I said nothing. "I know this is hard, Dante," he said, taking my arm. "But stay strong. You can do this." But I still missed his smile. His red and tired eyes told stories his mouth refused.  Staring at the cooling coffee, I pucker my lips and ease the bitter glory into my tongue. My love affair for coffee is an old one, and each year I desire a darker, richer, fuller blend. In

The dust is in the air,” Donald said. He leaned against the counter, his knees weak. The nanos eating away at mankind, they were loosed on the world with every cleaning, little puffs like clockwork, tick-tock with each exile. The headphones sat there quietly. “I am an ancient,” Donald said, using her words. He grabbed the headphones from the desk and repeated into the microphone, loudly, “I am an ancient! I did this!” He sagged once more against the desk, catching himself before he fell. “I’m sorry,” he muttered. “I’m sorry, I’m sorry.” Louder, yelling it: “I’m sorry!” But nobody was listening.

It’s so overwhelming when you notice how the clock ticks; so many tiny pieces holding each other together just so it keeps going. We are like clocks, too! Always ticking to the tocks. When the pieces of our soul are torn away or broken – we can’t be sent to the mending shop, however. So how do we get better? Workable? Thoughts can be tiring, at times. Or maybe it’s the same time – who knows? The clock is broken. Meh.

Tick is a humble genesis, tock a feeble apocalypse; and tick-tock is in any case not much of a plot. We need much larger ones and much more complicated ones if we persist in finding 'what will suffice.' And what happens if the organization is much more complex than tick-tock? Suppose, for instance, that it is a thousand-page novel. Then it obviously will not lie within what is called our 'temporal horizon'; to maintain the experience of organization we shall need many more fictional devices. And although they will essentially be of the same kind as calling the second of those two related sounds tock, they will obviously be more resourceful and elaborate. They have to defeat the tendency of the interval between tick and tock to empty itself; to maintain within that interval following tick a lively expectation of tock, and a sense that however remote tock may be, all that happens happens as if tock were certainly following. All such plotting presupposes and requires that an end will bestow upon the whole duration and meaning. To put it another way, the interval must be purged of simple chronicity, of the emptiness of tock-tick., humanly uninteresting successiveness. It is required to be a significant season, kairos poised between beginning and end. It has to be, on a scale much greater than that which concerns the psychologists, an instance of what they call 'temporal integration'--our way of bundling together perception of the present, memory of the past, and expectation of the future, in a common organization. Within this organization that which was conceived of as simply successive becomes charged with past and future: what was chronos becomes kairos. This is the time of the novelist, a transformation of mere successiveness which has been likened, by writers as different as Forster and Musil, to the experience of love, the erotic consciousness which makes divinely satisfactory sense out of the commonplace person.

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.

She was a spiky teenager rebelling against the soul-suck mirror reflected back at her in her mother’s blank stare, her question mark of a spine. Determined to beat the odds, she completed high school with distinction. But there was a caveat. Beydan was allowed to roam and educate herself – up to a point. On her eighteenth birthday her Father sat her down and held out his Rolexed wrist. Studded with crystals and flecks of diamond, the watch dazzled in the light. All Beydan could hear, however, was tick-tock-tick-tick-tick-tick - time to neatly fold all her hard work, to parcel up her progress, send it to the attic in her subconscious and let dust gather on her dreams. There was a lump in her throat and a stopwatch in her womb.

And I thought, I am in love. For the first time I am in love. And loved. Someone loves me. And I love them. And within me things clicked and whirled like the insides of some gigantic clock, cog against wheel, spring against spiral, tick against tock, and I knew that nothing would ever be the same again. I had shown someone what I really was. I had shown someone my truth, my secret. Out there, beyond the walls of the Castle, there was a boy who had seen inside my chrysalis. And I would never be safe again.

In the Vilnius ghetto, the news of German setbacks in the Soviet Union in the opening weeks of 1943 resulted in an upsurge of grim humour, as Herman Kruk recorded in his diary: A German asks a Jew to lend him 20 roubles. The Jew immediately takes the sum out of his pocket and gives it to him. The German wonders: ‘How can this be? You don’t know me at all, and you trust me with such a sum?’ I have the fullest trust in the Germans,’ answers the Jew. ‘You took Stalingrad and gave it back; you took Kharkov and gave it back. I’m sure that you will give me back my 20 roubles.’ What is the difference between General Rommel and a watch? A watch goes tick-tock and goes forward; Rommel goes tock-tick and goes backward … What city is the largest in the world? Stalingrad, because it took the Germans months to get from the outskirts to the centre.6

At some very low level, we all share certain fictions about time, and they testify to the continuity of what is called human nature, however conscious some, as against others, may become of the fictive quality of these fictions. It seems to follow that we shall learn more concerning the sense-making paradigms, relative to time, from experimental psychologists than from scientists or philosophers, and more from St. Augustine than from Kant or Einstein because St. Augustine studies time as the soul's necessary self-extension before and after the critical moment upon which he reflects. We shall learn more from Piaget, from studies of such disorders as déjà vu, eidetic imagery, the Korsakoff syndrome, than from the learned investigators of time's arrow, or, on the other hand, from the mythic archetypes. Let us take a very simple example, the ticking of a clock. We ask what it says: and we agree that it says tick-tock. By this fiction we humanize it, make it talk our language. Of course, it is we who provide the fictional difference between the two sounds; tick is our word for a physical beginning, tock our word for an end. We say they differ. What enables them to be different is a special kind of middle. We can perceive a duration only when it is organized. It can be shown by experiment that subjects who listen to rhythmic structures such as tick-tock, repeated identically, 'can reproduce the intervals within the structure accurately, but they cannot grasp spontaneously the interval between the rhythmic groups,' that is, between tock and tick, even when this remains constant. The first interval is organized and limited, the second not. According to Paul Fraisse the tock-tick gap is analogous to the role of the 'ground' in spatial perception; each is characterized by a lack of form, against which the illusory organizations of shape and rhythm are perceived in the spatial or temporal object. The fact that we call the second of the two related sounds tock is evidence that we use fictions to enable the end to confer organization and form on the temporal structure. The interval between the two sounds, between tick and tock is now charged with significant duration. The clock's tick-tock I take to be a model of what we call a plot, an organization that humanizes time by giving it form; and the interval between tock and tick represents purely successive, disorganized time of the sort that we need to humanize. Later I shall be asking whether, when tick-tock seems altogether too easily fictional, we do not produce plots containing a good deal of tock-tick; such a plot is that of Ulysses.

Back home, we can't kill them fast enough," he says. "Even Grahamites offer blue bills for their skins. Probably the only thing they've ever done that I agreed with." "Mmm, yes." Emiko's brow wrinkles thoughtfully. "They are too much improved for this world, I think. A natural bird has so little chance, now." She smiles slightly. "Just think if they had made New People first." Is it mischief in her eyes? Or melancholy? "What do you think would have happened?" Anderson asks. Emiko doesn't meet his gaze, looks out instead at the circling cats amongst the diners. "Generippers learned too much from cheshires." She doesn't say anything else, but Anderson can guess what's in her mind. If her kind had come first, before the generippers knew better, she would not have been made sterile. She would not have the signature tick-tock motions that make her so physically obvious. She might have even been designed as well as the military windups now operating in Vietnam—deadly and fearless. Without the lesson of the cheshires, Emiko might have had the opportunity to supplant the human species entirely with her own improved version. Instead, she is a genetic dead end. Doomed to a single life cycle, just like SoyPRO and TotalNutrient Wheat. Another shadow cat bolts across the street, shimmering and shading through darkness. A high-tech homage to Lewis Carroll, a few dirigible and clipper ship rides, and suddenly entire classes of animals are wiped out, unequipped to fight an invisible threat. "We would have realized our mistake," Anderson observes. "Yes. Of course. But perhaps not soon enough.

What Kant took to be the necessary schemata of reality,' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go--or, to put it the other way, how far one may cultivate fictional patterns or paradigms--is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'--'what is past and passing and to come'--and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End,' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.

Here was a boy who was now ashamed of being a boy. He had made a friend and the friend had invited him to stay over, as friends sometimes do. Benny had undoubtedly promised that Jake could help him feed the animals, and perhaps shoot his bow (or his bah, if it shot bolts instead of arrows). There would be places Benny would want to share,secret places he might have gone to with his twin in other times. A platform in a tree, mayhap, or a fishpond in the reeds special to him, or a stretch of riverbank where pirates of eld were reputed to have buried gold and jewels. Such places as boys go. But a large part of Jake Chambers was now ashamed to want to do such things. This was the part that had been despoiled by the doorkeeper in Dutch Hill, by Gasher, by the Tick-Tock Man. And by Roland himself, of course.Were he to say no to Jake’s request now, the boy would very likely never ask again. And never resent him for it, which was even worse. Were he to say yes in the wrong way - with even the slightest trace of indulgence in his voice, for instance - the boy would change his mind.

Maybe I . . . shouldn’t tell him what I thought I’d heard. Not until I knew more. How exactly would I put the revelation anyway? Jack’s alive, but apparently he kept that little detail secret. Ah, but Matthew spilled the beans! Buying myself time, I waved Aric on. I was scarcely listening as he began talking about Paul, of all people. How the EMT had grown worried when I’d been shut in with my grandmother for so long. How I had lost weight and become listless. The man had pleaded with me to get a checkup, even offering to source contraception after Aric and I had started sleeping together. Wait. I glanced up. “After?” Aric nodded. “He said you told him you had no need of contraception.” The hell? “I went to him and got a shot prior to us getting together. I told you about it.” “As I told him in turn, but he swears that never happened.” Real? Unreal? Had I . . . imagined my meeting with Paul? I’d already feared gaps in my memory; Gran had told me things that I’d had no recollection of. Was I now inventing memories? Had I invented Jack’s return? In a soothing voice, Aric said, “I’m not angry, love. Just talk to me.” He wasn’t the first person to look at me as if I’d gone insane, like I was trouble with the possibility of rubble. Won’t be the last. No. I refused this. I had heard Jack, and I had gotten that shot. “It did happen, which means Paul’s a liar.” But why would he lie? “I’m going to confront him.” In time. Right now, all I wanted was to hear from Matthew again. Yet I frowned as a thought occurred. “Why would you be talking to Paul about contraception?” Aric tucked my hair behind my ear. “Sievā,” he said gently, “do you not know you’re pregnant?” Tick-tock.

One article on reproductive strategies was titled "Sneaky Fuckers." Kya laughed. As is well known, the article began, in nature, usually the males with the most prominent secondary sexual characteristics, such as the biggest antlers, deepest voices, broadest chests, and superior knowledge secure the best territories because they have fended off weaker males. The females choose to mate with these imposing alphas and are thereby inseminated with the best DNA around, which is passed on to the female's offspring- one of the most powerful phenomena in the adaptation and continuance of life. Plus, the females get the best territory for their young. However, some stunted males, not strong, adorned, or smart enough to hold good territories, possess bags of tricks to fool the females. They parade their smaller forms around in pumped-up postures or shout frequently- even if in shrill voices. By relying on pretense and false signals, they manage to grab a copulation here or there. Pint-sized male bullfrogs, the author wrote, hunker down in the grass and hide near an alpha male who is croaking with great gusto to call in mates. When several females are attracted to his strong vocals at the same time, and the alpha is busy copulating with one, the weaker male leaps in and mates one of the others. The imposter males were referred to as "sneaky fuckers." Kya remembered, those many years ago, Ma warning her older sisters about young men who overrevved their rusted-out pickups or drove jalopies around with radios blaring. "Unworthy boys make a lot of noise," Ma had said. She read a consolation for females. Nature is audacious enough to ensure that the males who send out dishonest signals or go from one female to the next almost always end up alone. Another article delved into the wild rivalries between sperm. Across most life-forms, males compete to inseminate females. Male lions occasionally fight to the death; rival bull elephants lock tusks and demolish the ground beneath their feet as they tear at each other's flesh. Though very ritualized, the conflicts can still end in mutilations. To avoid such injuries, inseminators of some species compete in less violent, more creative methods. Insects, the most imaginative. The penis of the male damselfly is equipped with a small scoop, which removes sperm ejected by a previous opponent before he supplies his own. Kya dropped the journal on her lap, her mind drifting with the clouds. Some female insects eat their mates, overstressed mammal mothers abandon their young, many males design risky or shifty ways to outsperm their competitors. Nothing seemed too indecorous as long as the tick and the tock of life carried on. She knew this was not a dark side to Nature, just inventive ways to endure against all odds. Surely for humans there was more.

I remember, in no particular order: —a shiny inner wrist; —steam rising from a wet sink as a hot frying pan is laughingly tossed into it; —gouts of sperm circling a plughole, before being sluiced down the full length of a tall house; —a river rushing nonsensically upstream, its wave and wash lit by half a dozen chasing torchbeams; —another river, broad and grey, the direction of its flow disguised by a stiff wind exciting the surface; —bathwater long gone cold behind a locked door. This last isn’t something I actually saw, but what you end up remembering isn’t always the same as what you have witnessed. We live in time—it holds us and moulds us—but I’ve never felt I understood it very well. And I’m not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time’s malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing—until the eventual point when it really does go missing, never to return. I’m not very interested in my schooldays, and don’t feel any nostalgia for them. But school is where it all began, so I need to return briefly to a few incidents that have grown into anecdotes, to some approximate memories which time has deformed into certainty. If I can’t be sure of the actual events any more, I can at least be true to the impressions those facts left. That’s the best I can manage.

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.

So certain were experts that neonates felt no pain that through the mid-1980s major surgeries on newborn babies were sometimes performed without anesthesia. These included major cardiovascular procedures requiring prying open rib cages, puncturing lungs, and tying off major arteries. Though provided with no pharmacologic agents to blunt the pain that cracking ribs or cutting through the sternum might have induced, babies were given powerful agents to induce paralysis—ensuring an immobile (and undoubtedly terrified) patient on whom to operate. Jill Lawson’s remarkable story of her premature son, Jeffrey, and his unanesthetized heart surgery provides a heartbreaking account of such a procedure. After Jeffrey’s death in 1985, Lawson’s campaign to educate the medical profession about the need to treat pain in the young literally changed the field. And likely led to improved awareness of pain in animals, too. bA technique called clicker training pairs a metallic tick-tock! with a food treat every time the animal performs a desired behavior. Eventually the animal comes to associate the sound of the clicker with the feel-good neurochemical rewards of the food. When the treat is discontinued, the animal will continue doing the behavior, because