1980-1986, the nascent years of the hospice movement in the United States, I photographed terminally ill persons in their home environment. Working with non-profit agencies that provided care to those diagnosed as having less than six months to live, I sought to record the incremental diminishment of vitality, the slow process of separation from the world of the living. Without sentimentalism or sensationalism, I hoped to describe the end of life often as endless hours of stillness, lassitude, and lethargy—eventless days passed in quiet, darkened rooms. Where time becomes indeterminate, and waiting is the day’s activity.