“Automatically, as it had begun to do in these situations, her brain separated itself, like taking a box out of a box, leaving the original in its place and moving the latter over parallel to the original, though slightly askew. Photographer versus wife, picture taker versus the woman who wanted to scream in the street, who wanted to take the rifles these olive boys wore slung so casually over shoulders and narrow hips and turn them on their owners. And so the entire scene, (five minutes in real time, eternity on celluloid) laid itself out for her in freeze frame. Click, Casey cuffed now to the side of the lorry, morning light washing him over rose and silver and gold, half-naked and barefoot in the street; an Irish man in an Irish street in the twentieth century, hard to countenance and yet there for the clicking, there for the taking. Take the shot, take the picture, leave the pain, it interferes with the work, work now, bleed on the weekends, in the nights, in the quiet, that’s what Lucas had taught her.”
―
Cindy Brandner,
Mermaid in a Bowl of Tears