Tick Tock Time Quotes

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.

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

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

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.

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.

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

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

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.

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.

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…

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

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.

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?

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.

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.

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.

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.

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.

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

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.

And in the end, he would Watusi on their graves, too. It was almost time. Tick tock tick tock, he thought. Nothing ever stops the clock! He

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.

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.

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?

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.

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.

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.

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.

He’d heard the time seep away, a poisonous tick-tock in his mind, every beat of the clock a mocking reminder of mortality and pain.

I knew time was the greatest murderer in history. It always arrived wherever you were, not a tick too soon, and not a tock too late.

We are two hands of the same clock - as you tick, I tock.

We all, at some point or another, dance to somebody's tune. It seems to me that your time has come. Tick-tock, love. Tick-tock.

Time crawls in the silence. Tick. Tock. Tick. Tock. Tick. Tock. Tock. Tock. Tock.

…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.

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.

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.

Tick-Tock: (to Tilly) I told her about that laugh, didn't I, Tilly? Tilly: Ar. So you did, many and many a time. I'll set my watch and warrant on it. Tick-Tock: (to Tilly) So you might, if you could reach up your fat ass far enough to find them. (to Brandon) Bring me my knife, Brandon, and mind you wipe that slut's stink off it before you put it in my hand.

Orange County, featured none but Mediterranean architecture; indeed, the Mediterranean style prevailed to such an extent that it sometimes seemed restfully consistent but at other times was boring, suffocating, as if the chief executive officer of Taco Bell had somehow become an all-powerful dictator and had decreed that everyone must live not in houses but in Mexican restaurants.

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.

The grandfather’s clock in the corner of the room, I suddenly realized, wasn’t getting any younger. It would drop out a tick, and the tick would land inside my head like a rock dropped in a well, and the ripples would circle out and stop, and the tick would sink down the dark. For a piece of time which was not long or short, and might not even be time, there wouldn’t be anything. Then the tock would drop down the well, and the ripples would circle out and finish.

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.

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.

The people you surround yourself with make up the quality of your life. These are people who influence you, whether consciously or subconsciously. They serve as a reflection of your values, your hopes, what you think of yourself. These are the people you are sharing your precious, finite, never-guaranteed-but-always-tick-tock-slipping-away time on Earth with, so my advice is to be fucking greedy and ruthless. Choose ONLY the people who lift you up, who are reaching for higher things themselves, who MAKE YOU FEEL AWESOME. Grab on to them, hold them, scream ‘Mine, mine, mine’ and do everything in your power to be good to them

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.

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.

It was all very different from the crowded, complicated, and overly formal atmosphere of the Barbours’, where everything was rehearsed and scheduled like a Broadway production, an airless perfection from which Andy had been in constant retreat, scuttling to his bedroom like a frightened squid. 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 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.

For a while he just stood there and a million thoughts were running through my mind. I felt like my heart was beating out of its chest and my lungs couldn't get enough oxygen. It felt like all of the air had escaped my bedroom and that I was living on borrowed time. Tick-tock. Tick-tock. I thought I was going to pass out or fall over dead. Then I looked up into Maddox's eyes and I felt like everything was going to be okay. That this huge weight had been lifted off of my shoulders. That for the first time in my life I could finally breathe and with his help I could get through anything. I just had one question for him to answer. One question that I had literally been running away from. But at this moment, here in this room, I felt brave enough to finally ask the question I had been dying to know the answer to for months now.

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

IF I CAN’T SEE YOU FOR SOME REASON but can only hear you, you don’t exist for me in space, which is where seeing happens, but in time, which is where hearing happens. Your words follow one after the other the way tock follows tick. When I have only the sound of you to go by, I don’t experience you as an object the way I would if you stood before me—something that I can walk around, inspect from all angles, more or less define. I experience you more the way I experience the beating of my own heart or the flow of my own thoughts. A deaf man coming upon me listening to you would think that nothing of importance was going on. But something of extraordinary importance is going on. I am taking you more fully into myself than I can any other way. Hearing you speak brings me by the most direct of all routes something of the innermost secret of who you are. It is no surprise that the Bible uses hearing, not seeing, as the predominant image for the way human beings know God. They can’t walk around God and take God in like a cathedral or an artichoke. They can only listen to time for the sound of God—to the good times and bad times of their own lives for the words God is addressing to, of all people, them.

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

The concept of absolute time—meaning a time that exists in “reality” and tick-tocks along independent of any observations of it—had been a mainstay of physics ever since Newton had made it a premise of his Principia 216 years earlier. The same was true for absolute space and distance. “Absolute, true, and mathematical time, of itself and from its own nature, flows equably without relation to anything external,” he famously wrote in Book 1 of the Principia. “Absolute space, in its own nature, without relation to anything external, remains always similar and immovable.” But even Newton seemed discomforted by the fact that these concepts could not be directly observed. “Absolute time is not an object of perception,” he admitted. He resorted to relying on the presence of God to get him out of the dilemma. “The Deity endures forever and is everywhere present, and by existing always and everywhere, He constitutes duration and space.”45 Ernst Mach, whose books had influenced Einstein and his fellow members of the Olympia Academy, lambasted Newton’s notion of absolute time as a “useless metaphysical concept” that “cannot be produced in experience.” Newton, he charged, “acted contrary to his expressed intention only to investigate actual facts.”46 Henri Poincaré also pointed out the weakness of Newton’s concept of absolute time in his book Science and Hypothesis, another favorite of the Olympia Academy. “Not only do we have no direct intuition of the equality of two times, we do not even have one of the simultaneity of two events occurring in different places,” he wrote.

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

Newton had bequeathed to Einstein a universe in which time had an absolute existence that tick-tocked along independent of objects and observers, and in which space likewise had an absolute existence. Gravity was thought to be a force that masses exerted on one another rather mysteriously across empty space. Within this framework, objects obeyed mechanical laws that had proved remarkably accurate—almost perfect—in explaining everything from the orbits of the planets, to the diffusion of gases, to the jiggling of molecules, to the propagation of sound (though not light) waves. With his special theory of relativity, Einstein had shown that space and time did not have independent existences, but instead formed a fabric of spacetime. Now, with his general version of the theory, this fabric of spacetime became not merely a container for objects and events. Instead, it had its own dynamics that were determined by, and in turn helped to determine, the motion of objects within it—just as the fabric of a trampoline will curve and ripple as a bowling ball and some billiard balls roll across it, and in turn the dynamic curving and rippling of the trampoline fabric will determine the path of the rolling balls and cause the billiard balls to move toward the bowling ball. The curving and rippling fabric of spacetime explained gravity, its equivalence to acceleration, and, Einstein asserted, the general relativity of all forms of motion.92 In the opinion of Paul Dirac, the Nobel laureate pioneer of quantum mechanics, it was “probably the greatest scientific discovery ever made.” Another of the great giants of twentieth-century physics, Max Born, called it “the greatest feat of human thinking about nature, the most amazing combination of philosophical penetration, physical intuition and mathematical skill.

We'll begin with your name, shall we? Just what might that be, cully?" "Jake Chambers." With his nose pinched shut, his voice sounded nasal and foggy. "And are you a Not-see, Jake Chambers?" For a moment, Jake wondered if this was a peculiar way of asking him if he was blind...but of course they could all see he wasn't. "I don't understand what--" Tick-Tock shook him back and forth by the nose. "Not-See! Not-See! You just want to stop playing with me, boy!" "I don't understand--" Jake began, and then he looked at the old machine-gun hanging from the chair and thought once more of the crashed Focke-Wulf. The pieces fell together in his mind. "No--I'm not a Nazi. I'm an American. All that ended long before I was born!" The Tick-Tock Man released his hold on Jake's nose, which immediately began to gush blood. "You could have told me that in the first place and saved yourself all sorts of pain, Jake Chambers...but at least now you understand how we do things around here, don't you?" Jake nodded. "Ar. Well enough! We'll start with the simple questions." Jake's eyes drifted back to the ventilator grille. What he had seen before was still there; it hadn't been just his imagination. Two gold-ringed eyes floated in the dark behind the chrome louvers. Oy. Tick-Tock slapped his face, knocking him back into Gasher, who immediately pushed him forward again. "It's school-time, dear heart," Gasher whispered. "Mind yer lessons, now! Mind em wery sharp!" "Look at me when I'm talking to you," Tick-Tock said. "I'll have some respect, Jake Chambers, or I'll have your balls." "All right." Tick-Tock's green eyes gleamed dangerously. "All right what?" Jake groped for the right answer, pushing away the tangle of questions and the sudden hope which had dawned in his mind. And what came was what would have served at his own Cradle of the Pubes...otherwise known as The Piper School. "All right, sir?" Tick-Tock smiled. "That's a start, boy," he said, and leaned forward, forearms on his thighs. "Now...what's an American?

Its time I hear the clock Tick tock tick tock Go and killl the bad inner being In you soul it has neva been..!!

Paris It's that time to transform To come around, I'm changin' Oh, there's an angel knockin' on my window Tryin' to tell me where to go next It's a small town without you It feels cold, it's creepin' Moving on I look ahead instead Spirit divide Drift alone I waved her goodbye I carried on Dreams pass My black dress Folded on a big mess I'm changing my next flight to Paris The hour glass, a tick tock too fast for a destiny I've got a full drawer of letters Remember it was Paris you said we were gonna meet Why your answer machine's still on? It's the oddest feeling since you're gone A part of me drift away with you And will never return Spirit divide Drift alone I waved her goodbye I carried on Dreams pass My black dress Folded on a big mess I'm changing my next flight to Paris Spirit divide I waved her goodbye Dreams pass My black dress Folded on a big mess I'm changing my next flight

From beautiful do-overs on a long stretch of highway in Mexico, to many layers of life peeled away, filled with bottle caps and another car seat in the back of a minivan, time had tick-tocked its way to where it belonged.

We have already seen how modernity does away with “higher” times, leaving us to the merely chronological tick-tock of “secular” time. However, our own experience suggests that the unstoppable homogeneity of time is unbearable and unsustainable for us as humans.

For the time being, the First Lady was being spared, but as the note read, Tick tock, the gun is cocked. ***

You of all boys should know that Man is the Storytelling Animal, and that in stories are his identity, his meaning and his lifeblood. Do rats tell tales? Do porpoises have narrative purposes? Do elephants ele-phantasise? You know as well as I do that they do not. Man alone burns with books.’ ‘But still, the Fire of Life … it is just a fairy tale,’ insisted Dog the bear and Bear the dog, together. Nobodaddy drew himself up indignantly. ‘Do I look,’ he demanded, ‘like a fairy to you? Do I resemble, perhaps, an elf? Do gossamer wings sprout from my shoulders? Do you see even a trace of pixie dust? I tell you now that the Fire of Life is as real as I am, and that only that Unquenchable Blaze will do what you all wish done. It will turn bear into Man and dog into Dog-Man, and it will also be the End of Me. Luka! You little murderer! Your eyes light up at the very thought! How thrilling! I am amongst assassins! What are we waiting for, then? Are we starting now? Let’s be off! Tick, tock! There is no time to lose!’ At this point Luka’s feet began to feel as if somebody was gently tickling their soles. Then the silver sun rose above the horizon, and something quite unprecedented began to happen to the neighbourhood, the neighbourhood that wasn’t Luka’s real neighbourhood, or not quite. Why was the sun silver, for one thing? And why was everything too brightly coloured, too smelly, too noisy? The sweetmeats on the street vendor’s barrow at the corner looked like they might taste odd, too. The fact that Luka was able to look at the street vendor’s barrow at all was a part of the strange situation, because the barrow was always positioned at the crossroads, just out of sight of his house, and yet here it was, right in front of him, with those oddly coloured, oddly tasting sweetmeats all over it, and those oddly coloured, oddly buzzing flies buzzing oddly all around it. How was this possible? Luka wondered. After all, he hadn’t moved a step, and there was the street vendor asleep under the barrow, so the barrow obviously hadn’t moved either; and how did the crossroads arrive as well, um, that was to say, how had he arrived at the crossroads?

1 A STRANGER IN THE NIGHT The moon shone in the rocking horse’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 thought 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. L. M. Boston, The Children of Green Knowe Rain fell that night, a fine, whispering rain. Many years later, Meggie had only to close her eyes and she could still hear it, like tiny fingers tapping on the windowpane. A dog barked somewhere in the darkness, and however often she tossed and turned Meggie couldn’t get to sleep. The book she had been reading was under her pillow, pressing its cover against her ear as if to lure her back into its printed pages. “I’m sure it must be very comfortable sleeping with a hard, rectangular thing like that under your head,” her father had teased the first time he found a book under her pillow. “Go on, admit it, the book whispers its story to you at night.” “Sometimes, yes,” Meggie had said. “But it only works for children.” Which made Mo tweak her nose. Mo. Meggie had never called her father anything else. That night—when so much began and so many things changed forever—Meggie had one of her favorite books under her pillow, and since the rain wouldn’t let her sleep she

Time {Couplet} How time takes wing when we're having fun, then ticks, and tocks, and clicks, and clacks, when we're undone.

Bedtime by Maisie Aletha Smikle Tick tock tick tock Says my bunny clock It's half past nine o’clock The ship has already dock It's bedtime It's time to unwind And go to bed My mommy said So I take my bath And brush my teeth With a night cap over my hair I hop into my night gown Kneel down Bow my head And clasp my hands To pray Dear Lord You keep me when am awake Please keep me while I sleep Mommy comes in and peek Picks me up and tucks me in Dims the light Kiss me goodnight Read a story And sings me a happy lullaby Mommy reads the story of a sheep That didn't want to sleep So the shepherd counted flocks Till it was way past ten o’clock And the sheep fell fast asleep Mommy sings a lullaby My little one my sweet little one Your warm bed beckons Sweet peaceful sleep And happy lovely dreams Goodnight sunshine I love you dearly Sleep tight see you in the morning light

Life is your journey, choosing to live it to fullness is your choice. You may ask why it's hard to live, I may answer because it should be like this, that’s a general response. However, what you should know is that there is no joy in getting things that easily… working hard to achieve it will make difference. There are multiple paths in front of you and you must choose, you may get lost, you may get tired, you may get overwhelmed, you may doubt that’s not the right path for me and then the truth starts to reveal itself, everything begins and ends with you … yes, it's you… It is you who can control it, who can defeat the challenges it's you the author of your reality it's you the dreamer it's you the believer it's you the wiser it is you who prove that you are unique… your mindset and your thoughts must harmonize to create your story, to illustrate your dream to make your unique print because you are different and you never want to be a copy… it's not easy to change or to adapt but you have that flame inside you, that the light that will guide you in the worse and the best... Dare to dream ...Tick Tock… Time...That’s another story…

Life is your journey, choosing to live it to fullness is your choice. You may ask why it's hard to live I may answer because it should be like this that’s a general response. However, what you should know is that there is no joy in getting things that easily… working hard to achieve it will make difference. There are multiple paths in front of you and you must choose, you may get lost, you may get tired, you may get overwhelmed, you may doubt that’s not the right path for me and then the truth starts to reveal itself, everything begins and ends with you … yes, it's you… It is you who can control it, who can defeat the challenges it's you the author of your reality it's you the dreamer it's you the believer it's you the wiser it is you who prove that you are unique… your mindset and your thoughts must harmonize to create your story, to illustrate your dream to make your unique print because you are different and you never want to be a copy… it's not easy to change or to adapt but you have that flame inside you, that the light that will guide you in the worse and the best... Tick Tock… Time...That’s another story…

we have all the time in the world, is waht 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 in an entirely new direction slamming face first into something else and tick....tick....tick... it's almost time for war

In the “revelation” scene (Who forged the signatures? and do we really see a self-incrimination here?) the clock’s ticking, of course, convinces the naive that what we see has transpired in real time. It probably actually results from Welles’ conspiracy with the sound mixer. You can create a similar “revelation” scene by taking ten or twelve close-ups from half a year of filming, putting in a sound track with a tick-tock clock, and then just using your imagination to make the opening and closing dialogue seem to refer to each other. All the close-ups in between will then appear as reactions to the two lines of dialogue which can come from a scene, or two scenes, having no real link to the spoken words.

In every tick of the clock a tiny door slams shut; in the following tock is heard the turn of the lock.

The Nightingale in Badelunda In the green midnight at the nightingale’s northern limit. Heavy leaves hang in trance, the deaf cars race toward the neon line. The nightingale’s voice rises without wavering to the side, it is as penetrating as a cockcrow, but beautiful and free of vanity. I was in prison and it visited me. I was sick and it visited me. I didn’t notice it then, but I do now. Time streams down from the sun and the moon and into all the tick-tock-thankful clocks. But right here there is no time. Only the nightingale’s voice, the raw resonant notes that whet the night sky’s gleaming scythe.

The clock is ticking.” He leans back on the couch, spreading his legs and it’s a dominant move demanding submission. “Tick, tock. Time to dance, little ballerina.

I'm not totally engaged with the man, rather, the clock on the wall behind him. About six, but ticking slow and tocking even slower.

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.

I was trying to live a meaningful life, but the pendulum upon which I was swinging tick-tocked back and forth between rebellion and pride, enjoyment and arrest, insecurity and proving myself. Like a grandfather clock’s pendulum my life was ticking away. Time was a limited commodity and I wanted to spend mine well, but everything I chose seemed to backfire, shooting me from one end of the spectrum to the other.

Tick tock, Pet. Your time is running out. I cannot wait to play with you again.

Go give your Da a kiss,” Seamus instructed my kids. And incredibly, somehow, all at the same time, that’s exactly what they did.

Most of the Times, Life shows us how difficult this journey is, only at Times when the sun clears we see the Sunshine, but the rain often washes away the clouds and both the clouds and the rain dampen our weary hearts, only to let us see a glimpse of a distant rainbow, once in a while. I guess it's always about the Time, the guardian of this Journey that we have to wait and persevere, that we have to remain resilient in the resolve to walk ahead, to find some way to hold on to the voyage, to not let the ship sink in the hollows of a mirage, to just live. And that is what Life is about, perhaps to know that Gloom and Melancholy is a distinct part of our journey, and actually something that occupies the most part of our journey, and it doesn't have to be a deep Grief it can simply be the mundane sorrow of carrying on this existence knowing that Life is just a short frame holding dark colours as much as the bright ones, sometimes even more of those blackness only to bring out the whites a little bit more. And while all of this goes on, somewhere our heart would know that there is One who is beyond this frame of Life and the space of Time and Cosmos; who is always holding your hand giving you the breath to walk ahead. May be He doesn't take away the blackness but throughout stays firm in your path, holding your shadow and your soul ever so gently to make you become the Light that you could only possibly be by embracing all of your Soul's journey. He doesn't perhaps change the potholes in your way, but He does ensure that even when you tumble you don't end up falling and if you do fall, He makes sure that you rise all over again from the flames of Life's fire with the fury of a phoenix. He doesn't end your suffering but lets you see that throughout your pain He is partaking in an even greater portion of it, alongside you. Simple, He doesn't let you see that He is God, because He shares your Life as a companion, walking beside you hand in hand, to make you live all that your soul had contracted before this journey began and even when He is beyond Time, He lets Time be your friend in a journey that is bound in human flesh and guarded by the tick-tock of that guardian. So when I asked my Soul, what is that troubles me the most, I heard my Soul, Smile in a safe knowledge, when I have Him, need I let my troubles concern me? My heart knew, He has already tucked my mind in the tranquil world of Life's paint-brush and a rainbow is just around the corner. A distant yet distinct rainbow. A rainbow that is churned in Love, the love that only He can provide, the Love that is always lurking on the edges of those clouds and rain, in the silhouette of a rainbow forever promised on the other side of a thunderstorm. Love & Light, always - Debatrayee

know? But every time we thought we'd beaten it..." he sighed. "I can't decide whether these last few years have spun by or crawled along.

In today's rapidly evolving world, the saying 'time waits for no one' has never rung truer. The relentless march of seconds, minutes, and hours continues—indifferent to our aspirations and dreams. But here's the twist: we can harness the very essence of time's unceasing rhythm to our advantage. The clock's unyielding tick-tock is not a foe; it's our most potent ally, signaling the urgency for disruption and innovation.

Placing my arm over his shoulder, I pull him closer. "I wish you would stop guilt tripping yourself over having a good time. A trip like this is meant to change you. In fact, no, not change. Travelling doesn't change you at all. It introduces you to new possibilities.

Tick tock, tick tock,” Bancroft leers. I look over to the guys. I’m on the precipice of that rooftop all over again, despite the passing of time that’s bound our souls together. It all comes back to this—death holding us apart. I have nothing to offer this world, but they do. Saving their lives is the only good thing I have left to give.

He dropped the taunts and looked me in the eye. “Yes, you will be of my flesh, my Hand,” Roman said. I felt myself blanch – I knew the price would be steep, but that didn’t sound like a job offer. I wasn’t sure what he was or what he meant, but I had a sinking feeling that I would regret my ignorance very soon. “It’s only fair. A body for a body. Unfortunately, you don’t have much time.” Roman paused for dramatic effect. “Tick tock, kitten,” said the alligator.

Time tick tock says the clock whirrling by never shy quietly pass layer upon grass until time has gone. than you die.

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. For them, time was the seamless background of a comfortably familiar setting.

Once upon a time, all the clocks chimed midnight. Cinderella flees from the ball as her illusion unweaves. Beauty races towards her Beast before the last echo of the clock falls silent. Illusions fall. Magic ends. The clock chimes. Nothing lasts forever, and midnight is a purposeful stop. A pause to remind you that there is always a clock ticking. There will never be enough time, and for every Beauty who saves her Beast, there will be a voiceless mermaid who dissolves into sea foam. But there is another thing about midnight. It is when illusions break. When you can see the truth beneath them, if you are looking. There is always a crack in the illusion, a gap in the perfection, even if it is only visible with the ticking of a clock. Midnight is when you look, if there is a truth you need to see. If you are brave enough to bear what you witness. For just a moment, the smoke dissipates, the mirrors shatter, and the glamour is gone. All that's left is the truth of the story, the truth in your heart, your darkest secret. A glass shoe abandoned on the stairs. Once upon a time. Tick. Tock.

What is youth but the mainspring of a timepiece freshly wound, measuring the hours perfectly, ignorant that time must, sooner or later, outpace the tick and tock of his heart, leaving a man to rot until even his bones are turned to dust.

Life is your journey, choosing to live it to fullness is your choice. You may ask why it's hard to live, I may answer because it should be like this, that’s a general response. However, what you should know is that there is no joy in getting things that easily… working hard to achieve it will make difference. There are multiple paths in front of you and you must choose, you may get lost, you may get tired, you may get overwhelmed, you may doubt that’s not the right path for me and then the truth starts to reveal itself, everything begins and ends with you … yes, it's you… It is you who can control it, who can defeat the challenges it's you the author of your reality it's you the dreamer it's you the believer it's you the wiser it is you who prove that you are unique… your mindset and your thoughts must harmonize to create your story, to illustrate your dream to make your unique print because you are different and you never want to be a copy… it's not easy to change or to adapt but you have that flame inside you, that the light that will guide you in the worse and the best... Dare to dream ...Tick Tock… Time...That’s another story…