Screen Repair Quotes

Hey!" said the guy in the video. "Greetings from your friends at Camp Half-Blood, et cetera. This is Leo. I'm the..." He looked off screen and yelled: "What's my title? Am I like admiral, or captain, or-" A girl's voice yelled back, "Repair boy." "Very funny, Piper," Leo grumbled. He turned back to the parchment screen. "So yeah, I'm...ah..supreme commander of the Argo II. Yeah, I like that! Anyway, we're gonna be sailing towards you in about, I dunno, an hour in this big mother warship. We'd appreciate it if you'd not, like, blow us out of the sky or anything. So okay! If you could tell the Romans that. See you soon. Yours in demigodishness, and all that. Peace out!

Liam cleared his throat again and turned to fully face me. “So, it’s the summer and you’re in Salem, suffering through another boring, hot July, and working part-time at an ice cream parlor. Naturally, you’re completely oblivious to the fact that all of the boys from your high school who visit daily are more interested in you than the thirty-one flavors. You’re focused on school and all your dozens of clubs, because you want to go to a good college and save the world. And just when you think you’re going to die if you have to take another practice SAT, your dad asks if you want to go visit your grandmother in Virginia Beach.” “Yeah?” I leaned my forehead against his chest. “What about you?” “Me?” Liam said, tucking a strand of hair behind my ear. “I’m in Wilmington, suffering through another boring, hot summer, working one last time in Harry’s repair shop before going off to some fancy university—where, I might add, my roommate will be a stuck-up-know-it-all-with-a-heart-of-gold named Charles Carrington Meriwether IV—but he’s not part of this story, not yet.” His fingers curled around my hip, and I could feel him trembling, even as his voice was steady. “To celebrate, Mom decides to take us up to Virginia Beach for a week. We’re only there for a day when I start catching glimpses of this girl with dark hair walking around town, her nose stuck in a book, earbuds in and blasting music. But no matter how hard I try, I never get to talk to her. “Then, as our friend Fate would have it, on our very last day at the beach I spot her. You. I’m in the middle of playing a volleyball game with Harry, but it feels like everyone else disappears. You’re walking toward me, big sunglasses on, wearing this light green dress, and I somehow know that it matches your eyes. And then, because, let’s face it, I’m basically an Olympic god when it comes to sports, I manage to volley the ball right into your face.” “Ouch,” I said with a light laugh. “Sounds painful.” “Well, you can probably guess how I’d react to that situation. I offer to carry you to the lifeguard station, but you look like you want to murder me at just the suggestion. Eventually, thanks to my sparkling charm and wit—and because I’m so pathetic you take pity on me—you let me buy you ice cream. And then you start telling me how you work in an ice cream shop in Salem, and how frustrated you feel that you still have two years before college. And somehow, somehow, I get your e-mail or screen name or maybe, if I’m really lucky, your phone number. Then we talk. I go to college and you go back to Salem, but we talk all the time, about everything, and sometimes we do that stupid thing where we run out of things to say and just stop talking and listen to one another breathing until one of us falls asleep—” “—and Chubs makes fun of you for it,” I added. “Oh, ruthlessly,” he agreed. “And your dad hates me because he thinks I’m corrupting his beautiful, sweet daughter, but still lets me visit from time to time. That’s when you tell me about tutoring a girl named Suzume, who lives a few cities away—” “—but who’s the coolest little girl on the planet,” I manage to squeeze out.

I do not know if he can be repaired. I hope so, because I believe that I have a crush on him. Or I want to crush him. I am not sure which it is.” The words on her screen read RELATIONSHIPS ARE HARD.

Greetings from your friends at Camp Half-Blood, et cetera. This is Leo. I’m the…” He looked off screen and yelled: “What’s my title? Am I like admiral, or captain, or—” A girl’s voice yelled back, “Repair boy.” “Very funny, Piper,” Leo grumbled. He turned back to the parchment screen. “So yeah, I’m…ah…supreme commander of the Argo II. Yeah, I like that! Anyway, we’re gonna be sailing toward you in about, I dunno, an hour in this big mother warship. We’d appreciate it if you’d not, like, blow us out of the sky or anything. So okay! If you could tell the Romans that. See you soon. Yours in demigodishness, and all that. Peace out.” The parchment turned blank.

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Plant a vegetable garden if you have the space, a window box if you don’t. What does growing some of your own food have to do with repairing your relationship to food and eating? Everything. To take part in the intricate and endlessly interesting processes of providing for your sustenance is the surest way to escape the culture of fast food and the values implicit in it: that food should be fast, cheap, and easy; that food is a product of industry, not nature; that food is fuel rather than a form of communion with other people, and also with other species—with nature. On a more practical level, you will eat what your garden yields, which will be the freshest, most nutritious produce obtainable; you will get exercise growing it (and get outdoors and away from screens); you will save money (according to the National Gardening Association, a seventy-dollar investment in a vegetable garden will yield six hundred dollars’ worth of food); and you will be that much more likely to follow the next, all-important rule.

Because despite the undeniable knowledge that I wasn't human—or mostly human, anyway—despite the proof the computer screen had show in the repair room, I still picture my interior just the same as any other sixteen-year-old girl's. Blood and guts and bones. A brain, and a functioning heart. Hopes and dreams, fears and sorrow. They could tell me the truth, but they couldn't force me to accept it.

We decided to attend to our community instead of asking our community to attend the church.” His staff started showing up at local community events such as sports contests and town hall meetings. They entered a float in the local Christmas parade. They rented a football field and inaugurated a Free Movie Night on summer Fridays, complete with popcorn machines and a giant screen. They opened a burger joint, which soon became a hangout for local youth; it gives free meals to those who can’t afford to pay. When they found out how difficult it was for immigrants to get a driver’s license, they formed a drivers school and set their fees at half the going rate. My own church in Colorado started a ministry called Hands of the Carpenter, recruiting volunteers to do painting, carpentry, and house repairs for widows and single mothers. Soon they learned of another need and opened Hands Automotive to offer free oil changes, inspections, and car washes to the same constituency. They fund the work by charging normal rates to those who can afford it. I heard from a church in Minneapolis that monitors parking meters. Volunteers patrol the streets, add money to the meters with expired time, and put cards on the windshields that read, “Your meter looked hungry so we fed it. If we can help you in any other way, please give us a call.” In Cincinnati, college students sign up every Christmas to wrap presents at a local mall — ​no charge. “People just could not understand why I would want to wrap their presents,” one wrote me. “I tell them, ‘We just want to show God’s love in a practical way.’ ” In one of the boldest ventures in creative grace, a pastor started a community called Miracle Village in which half the residents are registered sex offenders. Florida’s state laws require sex offenders to live more than a thousand feet from a school, day care center, park, or playground, and some municipalities have lengthened the distance to half a mile and added swimming pools, bus stops, and libraries to the list. As a result, sex offenders, one of the most despised categories of criminals, are pushed out of cities and have few places to live. A pastor named Dick Witherow opened Miracle Village as part of his Matthew 25 Ministries. Staff members closely supervise the residents, many of them on parole, and conduct services in the church at the heart of Miracle Village. The ministry also provides anger-management and Bible study classes.

We’re halfway to the airport when my phone buzzes with a text. I have it set so that none of my texts (especially the photos) show up on the screen unless I’m logged in. It’s a pretty crucial precaution, and the text Jamie has just sent me proves why. When I authenticate my thumbprint, the screen fills with a picture that is not safe for work. It’s both dirty and hysterical all at once. Jamie’s very hard dick fills the shot. Only it’s angled toward the wall where the full, pink head leans against a flat nail that it’s presumably pounding. And Jamie has used some app to draw a happy face on his cockhead. The effect is startlingly transformative. His dick looks like…an expressive, alien creature performing some minor home repair. I give a snort of laughter. And here they thought my shirt was gay. I’ll show you gay…

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

Then, in a blink of the eye, we invented the modern postindustrial world. Suddenly some of us can take it easy 24/7 in ways unimaginable to earlier generations. Instead of walking, carrying, digging, running, and throwing, we sit for most of the day in ergonomically designed chairs, stare at screens, and press buttons. The only catch is we still inherited our active ancestors’ thrifty genes that rely on physical activity to grow, maintain, and repair our bodies. Incessant sitting combined with modern diets and other novelties thus contributes to evolutionary mismatches, defined as conditions that are more common and severe today than in the past because our bodies are poorly adapted to novel environmental conditions.3 The twenty-first-century world, of course, is not without extraordinary benefits. Today, nearly seven billion of us live longer and healthier lives than most of our Stone Age forebears ever did, many of us enjoying comforts beyond the imaginations of pharaohs and emperors of yore. But just as we never evolved to cope with jet lag or guzzle gallons of soda, we never evolved to be persistently physically inactive.

The truth is, I had lived alone for so long I sometimes forgot that the responsibility for running my life was solely mine. There was no sharing of duties and decisions in the life I'd chosen. Whether it was taking the car to the repair shop or hanging the screen door, it was up to me. Most of the time I liked being in charge of my life, thrived on it, in fact. But occasionally, when I was tired or unhappy, I'd find myself thinking how nice it would be to let someone else run the show, at least for awhile.

Stephen!” Meridith hobbled forward and embraced her fiancé. “What are you doing here?” “I missed you.” He pecked her on the lips, but his embrace felt stilted. Then she remembered Jake. She pulled away and cleared her throat. “Stephen, this is Jake, the contractor I hired. Jake, this is my fiancé, Stephen.” Jake extended his hand. The grasp seemed more like a challenge than a handshake. Or maybe it was her imagination. “Nice to meet you,” Stephen said. “Same.” Jake’s voice seemed deep after Stephen’s. “I’ll turn in now,” he said to Meridith. “You’ll be all right with your ankle?” “Yeah, thanks.” Her laugh wobbled. “Good night.” She’d never gotten around to telling Stephen that Jake was staying there, and now she wished she had. Boy, did she ever. Stephen would have questions. She wasn’t blind to the way it must look, a cozy family returning from a day at the festival. Not to mention the way she’d been curled into Jake’s arms as he’d helped her up the walk. The screen door slapped into place, leaving them alone. Meridith huddled into her thin sweater. “I can’t believe you’re here.” “He’s staying here?” Stephen’s voice had an edge she hadn’t heard before. “It was a trade. I couldn’t afford the repairs, remember? Jake offered to trade for room and board.” “I’ll bet he did.” “Stephen.

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Attend a university if you possibly can. There is no content of knowledge that is not pertinent to the work you will want to do. But before you attend a university work at something for a while. Do anything. Get a job in a potato field; or work as a grease-monkey in an auto repair shop. But if you do work in a field do not fail to observe the look and the feel of earth and of all things that you handle — yes, even potatoes! Or, in the auto shop, the smell of oil and grease and burning rubber. Paint of course, but if you have to lay aside painting for a time, continue to draw. Listen well to all conversations and be instructed by them and take all seriousness seriously. Never look down upon anything or anyone as not worthy of notice. In college or out of college, read. And form opinions! Read Sophocles and Euripides and Dante and Proust. Read everything that you can find about art except the reviews. Read the Bible; read Hume; read Pogo. Read all kinds of poetry and know many poets and many artists. Go to and art school, or two, or three, or take art courses at night if necessary. And paint and paint and draw and draw. Know all that you can, both curricular and noncurricular — mathematics and physics and economics, logic and particularly history. Know at least two languages besides your own, but anyway, know French. Look at pictures and more pictures. Look at every kind of visual symbol, every kind of emblem; do not spurn signboards of furniture drawings of this style of art or that style of art. Do not be afraid to like paintings honestly or to dislike them honestly, but if you do dislike them retain an open mind. Do not dismiss any school of art, not the Pre-Raphaelites nor the Hudson River School nor the German Genre painters. Talk and talk and sit at cafés, and listen to everything, to Brahms, to Brubeck, to the Italian hour on the radio. Listen to preachers in small town churches and in big city churches. Listen to politicians in New England town meetings and to rabble-rousers in Alabama. Even draw them. And remember that you are trying to learn to think what you want to think, that you are trying to co-ordinate mind and hand and eye. Go to all sorts of museums and galleries and to the studios of artists. Go to Paris and Madrid and Rome and Ravenna and Padua. Stand alone in Sainte Chapelle, in the Sistine Chapel, in the Church of the Carmine in Florence. Draw and draw and paint and learn to work in many media; try lithography and aquatint and silk-screen. Know all that you can about art, and by all means have opinions. Never be afraid to become embroiled in art of life or politics; never be afraid to learn to draw or paint better than you already do; and never be afraid to undertake any kind of art at all, however exalted or however common, but do it with distinction.

What I have never been able to tolerate is the prospect that my few years on earth will be frittered away filling out the form to verify that I filled out the previous form, or worse, toiling in the service of some enterprise that perpetuates the things I hate: war, corporate bullying, bureaucratic hoop-jumping, plunder of nature, and more hours tethered to electronic screens. I was willing to work, but I wanted my work to matter—to repair land and cities, to cultivate peace and justice.

The résumé-screening model was a failure, but the process that led to its analysis, attempted repair, and eventual abandonment was not.

Further into the technological the age, the home has become the sight of work or toil again. Many of us bring our work home, on our screens. Parents and children alike can work late into the night as kids download their homework assignments from the school website and as parents field messages from around the world globalized around the clock workplaces. But this is little like the era when children would watch fascinated as a mother or father demonstrated some skill, whether caring for farm animals, repairing a plow on an engine, preparing a pie or a roast or turning a piece of fabric perfectly clean and crisp. Instead, the work that parents do at home on our laptops and our phones is hardly different than the schoolwork our children do and sometimes much less obviously rewarding.

The old concept of the ladder of progress still lingers on in the form of a teleology: Evolution is good for species, and so they strive to make it go faster. Yet it is stasis, not change, that is the hallmark of evolution. Sex and gene repair and the sophisticated screening mechanisms of higher animals to ensure that only defect-free eggs and sperm contribute to the next generation—all these are ways of preventing change.

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exit. My aversion to getting a regular job was not the result of being lazy—although sometimes I am. Nor was it that I simply don’t like being told what to do—although I don’t. What I have never been able to tolerate is the prospect that my few years on earth will be frittered away filling out the form to verify that I filled out the previous form, or worse, toiling in the service of some enterprise that perpetuates the things I hate: war, corporate bullying, bureaucratic hoop-jumping, plunder of nature, and more hours tethered to electronic screens. I was willing to work, but I wanted my work to matter—to repair land and cities, to cultivate peace and justice. I wanted not the frazzled anxiety that follows eight hours of chair-bound button-pushing, but the bodily satisfaction of employing hands, legs, and lungs in concert with the mind. I often felt helpless at the state of the world—climate change, racism, species extinction, poverty, war—and I wanted ways to address these things with my very life, to live in a way that was not just ethical but joyful. Looking around, I saw that I was not alone. Anxious at the erosion of their freedom and security, Americans hungered for alternatives. A movement was afoot—local food and urban farms, bike co-ops and time banks and tool libraries, permaculture and guerrilla gardening, homebirthing and homeschooling and home cooking—a new twist on the back-to-the-land movement of the previous generation. I decided to go find Americans leading lives of radical simplicity.

Evolution is good for species, and so they strive to make it go faster. Yet it is stasis, not change, that is the hallmark of evolution. Sex and gene repair and the sophisticated screening mechanisms of higher animals to ensure that only defect-free eggs and sperm contribute to the next generation—all these are ways of preventing change.