Moving to The Thin Red Line and beyond, both Malick's cinema and the prose of the book move into an ethics of recollection and repetition. Malick's increasingly vertical temporality is evident in shifting states of simultaneity (shared time) and coexistence (shared times). Memory is explored particularly through Kierkegaard and Deleuze, but also Heidegger, Bergson, Arendt, Salomé, Silverman, and Bachelard. Layers of cinematic temporality are expressed through fragmented hearing, a multiplicity of voices, and a loss of object/sonic causality. Malick's temporal leaps and crystalline audibility break the sensory-motor condition and express the thought of his characters. His logos reconnects fragmentations of loss and forgetting through recollection, repetition, dreaming, and reverie. Audibility breaks the spatial/material concerns of sound, as hearing shifts through questions of immanence, transcendence, spirit, eternity, and infinity. Malick's withering logos is also addressed, proposing that his films after The Tree of Life were a slip into habit and failures to take account. Narration is given particular attention, not for its syntax but as gatherings of thought and its ability to utter the unspeakable.