Between shifts Quotes

“The Mauna Kea night shift was an 18 hour night in wintertime at the 13,796 feet summit (before sunset to after sunrise) with insufficient time for adequate sleep before the next night shift. Night shift was between 5 and 8 nights long and we slept at 9,200 feet. We sat at a desk staring at four large computer monitors and a large cathode ray tube television. I would also use my Wi-Fi laptop computer. I would have extreme fatigue by the end of every night shift and have chapped lips which I now associate with exposure to the artificial light from the computer screens. A good day of sleep between shifts was rare and starting the next shift fatigued was normal.”

“Same time as every day, Fyl..." she fussed, the rest of the bridge crew seeming to hold their breaths. "TWELVE THIRTY!" came the chorus. The next hour dragged by, in about the same way as the hour before that. At twelve twenty-five, Commander Ortez found himself stepping out of an elevator into an equally mundane grey steel corridor on his way to the mess hall. Turning a corner, he met with a stream of crewmen milling around between shifts. Some off-duty personnel were lounging around in civvies, which consisted mostly of re-revamped 60's hippy fashions. Of all the places on the ship, the mess was the most spacious, (i.e.: it was a big mess.) The command officer’s balcony overhung the rest of the crew dining area. Ortez sat at his usual place, wincing as he remembered to get someone to fix the springs in his chair. An ensign, 3rd class dressed in chef’s white, served him with a plate of what either ended up feeding the chefs latest pet - or strangling it. Marnetti, Barnum and the sciences officer Commander Jaris Skotchdopole filed in, not necessarily in that order, and found seats. After a few bites, Marnetti -- who was the first officer and navigator, put up a hand and signalled a waiter. The lad approached fearfully, appreciating the highlight of his day.”

“Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper. Over the last few years, writing a novel on tight finances, I came to appreciate the enormous differences in the material demands between poetry and prose. As we reclaim our literature, poetry has been the major voice of poor, working class, and Colored women. A room of one's own may be a necessity for writing prose, but so are reams of paper, a typewriter, and plenty of time.”