Static Car Quotes

And at last, the dearest, most improbable sound of all— the sound of a green trolley car going around a comer— a trolley burdened with brown and alien and beautiful people, and the sound of other people running and calling out with triumph as they leaped up and swung aboard and vanished around a corner on the shrieking rails and were borne away in the sun-blazed distance to leave only the sound of tortillas frying on the market stoves, or was it merely the ever rising and falling hum and burn of static quivering along two thousand miles of copper wire . . .

Exoteric machines - esoteric machines. They say the computer is an improved form of typewriter. Not a bit of it. I collude with my typewriter, but the relationship is otherwise clear and distant. I know it is a machine; it knows it is a machine. There is nothing here of the interface, verging on biological confusion, between a computer thinking it is a brain and me thinking I am a computer. The same familiarity with good old television, where I was and remained a spectator. It was an esoteric machine, whose status as machine I respected. Nothing there of all these screens and interactive devices, including the 'smart' car of the future and the 'smart' house. Even the mobile phone, that incrustation of the network in your head, even the skateboard and rollerblades - mobility aids - are of a quite different generation from the good old static telephone or the velocipedic machine. New manners and a new morality are emerging as a result of this organic confusion between man and his prostheses - a confusion which puts an end to the instrumental pact and the integrity of the machine itself.

A clatter of metal against the concrete made me look back. Liam had moved on from the car to a nearby pile of bikes that were tangled together like brambles. He picked through the frames and spokes and wheels, working carefully, trying to get down to whatever he'd seen under them.... "Do you actually know how to ride?" "Do I know how to ride?" Liam scoffed, leaning over the bike's seat so his face was inches from mine. His pale blue eyes were electric with his excitement; they sent a charge through me, sizzling the rest of the world into peaceful, quiet static. That last bit of distance must have been as unbearable to him as it was to me, because his fingers came down over where my hands rested on the busted leather seat. I felt his touch spread over my skin like late afternoon sunshine. His lips skimmed my cheek, his breath warm against my ear as he said in low, honeyed tones, "Not only can I ride, darlin', but I can give you a few pointers– "Hey, Hell's Angels!" Cole barked. "I didn't bring you in here to shop around for yourselves! Get your assess over here!" Liam expression clouded over as he pulled back, the fluttering excitement vanishing like a candle blown out. with a single breath. I must have looked as disappointed as I felt, letting out a small sound of irritation, because just like that he was smiling again as he tucked a loose strand of hair back over my ear. A softer, smaller smile than before, but one meant for me. It warmed me down to my bones.

We don't just have equipment to set up, we have a whole stage set: TVs tuned to static, a busted old Moog synthesizer (also tuned to static - it basically just sits onstage, drooling, like a demented robot friend), an ironing board we use as a percussion stand, lamps (because we prefer mood lighting to rock-show lighting), various car parts and kitchen utensils (for hitting), a movie screen we project slides onto and a pair of mannequin legs in a gold lamé miniskirt with a TV for a torso. All this may sound arty, but really, it's just overenthusiastic.

There are those survivors of disasters whose accounts never begin with the tornado warning or the captain announcing engine failure, but always much earlier in the timeline: an insistence that they noticed a strange quality to the sunlight that morning or excessive static in their sheets. A meaningless fight with a boyfriend. As if the presentiment of catastrophe wove itself into everything that came before. Did I miss some sign? Some internal twinge? The bees glittering and crawling in the crate of tomatoes? An unusual lack of cars on the road? The question I remember Donna asking me in the bus— casually, almost as an afterthought. “You ever hear anything about Russell?” The question didn’t make sense to me. I didn’t understand that she was trying to gauge how many of the rumors I’d heard: about orgies, bout frenzied acid trips and teen runaways forced to service older men. Dogs sacrificed on moonlit beaches, goat heads rotting in the sand. If I’d had friends besides Connie, I might’ve heard chatter of Russell at parties, some hushed gossip in the kitchen. Might’ve known to be wary. But I just shook my head. I hadn’t heard anything.

Loftus grew up with a cold father who taught her nothing about love but everything about angles. A mathematician, he showed her the beauty of the triangle's strong tip, the circumference of the circle, the rigorous mission of calculus. Her mother was softer, more dramatic, prone to deep depressions. Loftus tells all this to me with little feeling "I have no feelings about this right now," she says, "but when I'm in the right space I could cry." I somehow don't believe her; she seems so far from real tears, from the original griefs, so immersed in the immersed in the operas of others. Loftus recalls her father asking her out to see a play, and in the car, coming home at night, the moon hanging above them like a stopwatch, tick tick, her father saying to her, "You know, there's something wrong with your mother. She'll never be well again. Her father was right. When Loftus was fourteen, her mother drowned in the family swimming pool. She was found floating face down in the deep end, in the summer. The sun was just coming up, the sky a mess of reds and bruise. Loftus recalls the shock, the siren, an oxygen mask clamped over her mouth as she screamed, "Mother mother mother," hysteria. That is a kind of drowning. "I loved her," Loftus says. "Was it suicide?" I ask. She says, "My father thinks so. Every year when I go home for Christmas, my brothers and I think about it, but we'll never know," she says. Then she says, "It doesn't matter." "What doesn't matter?" I ask. "Whether it was or it wasn't," she says. "It doesn't matter because it's all going to be okay." Then I hear nothing on the line but some static. on the line but some static. "You there?" I say. "Oh I'm here," she says. "Tomorrow I'm going to Chicago, some guy on death row, I'm gonna save him. I gotta go testify. Thank God I have my work," she says. "You've always had your work," I say. "Without it," she says, "Where would I be?

On Earth We’re Briefly Gorgeous" i Tell me it was for the hunger & nothing less. For hunger is to give the body what it knows it cannot keep. That this amber light whittled down by another war is all that pins my hand to your chest. i You, drowning                         between my arms — stay. You, pushing your body                          into the river only to be left                          with yourself — stay. i I’ll tell you how we’re wrong enough to be forgiven. How one night, after backhanding mother, then taking a chainsaw to the kitchen table, my father went to kneel in the bathroom until we heard his muffled cries through the walls. And so I learned that a man, in climax, was the closest thing to surrender. i Say surrender. Say alabaster. Switchblade.                    Honeysuckle. Goldenrod. Say autumn. Say autumn despite the green                    in your eyes. Beauty despite daylight. Say you’d kill for it. Unbreakable dawn                    mounting in your throat. My thrashing beneath you                    like a sparrow stunned with falling. i Dusk: a blade of honey between our shadows, draining. i I wanted to disappear — so I opened the door to a stranger’s car. He was divorced. He was still alive. He was sobbing into his hands (hands that tasted like rust). The pink breast cancer ribbon on his keychain swayed in the ignition. Don’t we touch each other just to prove we are still here? I was still here once. The moon, distant & flickering, trapped itself in beads of sweat on my neck. I let the fog spill through the cracked window & cover my fangs. When I left, the Buick kept sitting there, a dumb bull in pasture, its eyes searing my shadow onto the side of suburban houses. At home, I threw myself on the bed like a torch & watched the flames gnaw through my mother’s house until the sky appeared, bloodshot & massive. How I wanted to be that sky — to hold every flying & falling at once. i Say amen. Say amend. Say yes. Say yes anyway. i In the shower, sweating under cold water, I scrubbed & scrubbed. i In the life before this one, you could tell two people were in love because when they drove the pickup over the bridge, their wings would grow back just in time. Some days I am still inside the pickup. Some days I keep waiting. i It’s not too late. Our heads haloed             with gnats & summer too early to leave any marks.             Your hand under my shirt as static intensifies on the radio.             Your other hand pointing your daddy’s revolver             to the sky. Stars falling one by one in the cross hairs.             This means I won’t be afraid if we’re already             here. Already more than skin can hold. That a body             beside a body must ma

To the infra-human specimens of this benighted scientific age the ritual and worship connected with the art of healing as practiced at Epidaurus seems like sheer buncombe. In our world the blind lead the blind and the sick go to the sick to be cured. We are making constant progress, but it is a progress which leads to the operating table, to the poor house, to the insane asylum, to the trenches. We have no healers – we have only butchers whose knowledge of anatomy entitles them to a diploma, which in turn entitles them to carve out or amputate our illnesses so that we may carry on in cripple fashion until such time as we are fit for the slaughterhouse. We announce the discovery of this cure and that but make no mention of the new diseases which we have created en route. The medical cult operates very much like the war office – the triumphs which they broadcast are sops thrown out to conceal death and disaster. The medicos, like the military authorities, are helpless; they are waging a hopeless fight from the start. What man wants is peace in order that he may live. Defeating our neighbor doesn’t give peace any more than curing cancer brings health. Man doesn’t begin to live through triumphing over his enemy nor does he begin to acquire health through endless cures. The joy of life comes through peace, which is not static but dynamic. No man can really say that he knows what joy is until he has experienced peace. And without joy there is no life, even if you have a dozen cars, six butlers, a castle, a private chapel and a bomb-proof vault. Our diseases are our attachments, be they habits, ideologies, ideals, principles, possessions, phobias, gods, cults, religions, what you please. Good wages can be a disease just as much as bad wages. Leisure can be just as great a disease as work. Whatever we cling to, even if it be hope or faith, can be the disease which carries us off. Surrender is absolute: if you cling to even the tiniest crumb you nourish the germ which will devour you. As for clinging to God, God long ago abandoned us in order that we might realize the joy of attaining godhood through our own efforts. All this whimpering that is going on in the dark, this insistent, piteous plea for peace which will grow bigger as the pain and the misery increase, where is it to be found? Peace, do people imagine that it is something to cornered, like corn or wheat? Is it something which can be pounded upon and devoured, as with wolves fighting over a carcass? I hear people talking about peace and their faces are clouded with anger or with hatred or with scorn and disdain, with pride and arrogance. There are people who want to fight to bring about peace- the most deluded souls of all. There will be no peace until murder is eliminated from the heart and mind. Murder is the apex of the broad pyramid whose base is the self. That which stands will have to fall. Everything which man has fought for will have to be relinquished before he can begin to live as man. Up till now he has been a sick beast and even his divinity stinks. He is master of many worlds and in his own he is a slave. What rules the world is the heart, not the brain, in every realm our conquests bring only death. We have turned our backs on the one realm wherein freedom lies. At Epidaurus, in the stillness, in the great peace that came over me, I heard the heart of the world beat. I know what the cure is: it is to give up, to relinquish, to surrender, so that our little hearts may beat in unison with the great heart of the world.

Among much else, Einstein’s general theory of relativity suggested that the universe must be either expanding or contracting. But Einstein was not a cosmologist, and he accepted the prevailing wisdom that the universe was fixed and eternal. More or less reflexively, he dropped into his equations something called the cosmological constant, which arbitrarily counterbalanced the effects of gravity, serving as a kind of mathematical pause button. Books on the history of science always forgive Einstein this lapse, but it was actually a fairly appalling piece of science and he knew it. He called it “the biggest blunder of my life.” Coincidentally, at about the time that Einstein was affixing a cosmological constant to his theory, at the Lowell Observatory in Arizona, an astronomer with the cheerily intergalactic name of Vesto Slipher (who was in fact from Indiana) was taking spectrographic readings of distant stars and discovering that they appeared to be moving away from us. The universe wasn’t static. The stars Slipher looked at showed unmistakable signs of a Doppler shift‖—the same mechanism behind that distinctive stretched-out yee-yummm sound cars make as they flash past on a racetrack. The phenomenon also applies to light, and in the case of receding galaxies it is known as a red shift (because

Chet couldn’t wipe away his smile. “I have learned much since we parted ways, and one of those lessons is that a static force, even in mass, can be crushed by a dynamic one.” Wellington‘s face stiffened. “What kind of foolish talk is that?” “You will find out. On the Fourth of July, as you sit here in your governor’s mansion pandering to your public servants—using them to climb into more power, you will learn what it feels like to have everything you believe in shatter before your very eyes.” Wellington shifted irritably in his seat. “What sort of riddle is that, Chet? You and I have been in this political game our entire lives. You know how it works, and that’s not going to change. Ever. One party controls the knobs of politics with one hand, and the other party controls the knobs with the other hand. But they are all one body, members of a political ruling class. That’s what we do. This isn’t anything new.” Chet pushed his brows over his eyes in a gaze that could melt steel. “You will not be able to stop the ramifications of its impact. This thing I’m about to unleash upon you, I’m doing to you because you are an evil man. I used to be, I’ll give you that. But I changed, luckily, before death found me. And I will not let you get away with what you are doing to this country.” Wellington was aghast. “So you’re involved with terrorism now, are you? What are you going to do?” Chet shook his head. “The truth isn’t something you can hide from people. They all feel it even if they don’t understand the intentions behind the madness.” Wellington was in a near panic in anticipation over what Chet was planning. “I can have you followed, you know. Everyone you speak to will be monitored. Surely you know that? And who are you to decide what the best position for anything is? You don’t have a right to make decisions for the masses. If you were sitting in my seat, perhaps. But you’re not.” “If you hadn’t cheated, I would be in your chair.” Chet pierced Wellington with his squinted eyes. “And because of that, I have decided that you aren’t able to make decisions for the masses either, and I’ll see to it that you won’t continue to do so.” Chet pushed back his chair and stood up dramatically. “Enjoy this office because you won’t be here long.” Wellington contorted his face in panic. “What are you doing? What’s going to happen? Tell me at least that much! Was it so bad between us that we can’t reason with each other? Maybe we could make a deal. What if I make you my presidential running mate?” Chet didn’t answer. He headed for the door, unsure as to why he had said that last part. He still didn’t really know what was going to happen. But with Rick Stevens headed down in a few days with a multimillion dollar car, anything was possible. But now Wellington would know that Chet was behind the crazy driver who refused to pull over.

At the level of economic theory, the great fallacy in the logic of David Ricardo, the father of free-trade theory, was to view the gains and losses of trade in a static fashion, as a snapshot at a single point in time. In Ricardo’s theory, whose variants are espoused by free-market economists to this day, if nineteenth-century Britain offered better and cheaper manufactured goods, the US should buy them and export something where it could compete—say, raw cotton and lumber—even if that meant the US never developed an industrial economy. By the same token, if twentieth-century America made the best cars, machine tools, and steel, Japan and Korea should import those, and continue to export cheap toys and rice. And if other nations subsidized US industries, Americans, rather than being fearful of displacement, should accept the “gift.” What Ricardo missed—and what leaders from Alexander Hamilton and Abraham Lincoln to Teddy Roosevelt grasped (likewise statesmen in nations from Japan to Brazil), as well as dissenting economists like the German Friedrich List and the Americans Paul Krugman and Dani Rodrik—was that the dynamic gains of economic development over time far surpass the static gains at a single point in time. Economic advantage is not something bestowed by nature. Advantage can be deliberately created—an insight for which Krugman won a Nobel Prize. Policies of economic development often required an active role for the state, in violation of laissez-faire.

SETTLING into the seat of his ’81 banged-up black 320i, Jade rolled the radio tuning knob through a cacophony of static. Giving up, he reached into his glove compartment, pulled out a CD, and slipped it in. Miles Davis, Kind of Blue. The green lights floated overhead, one after another, as Jade swerved from lane to lane, darting between cars. He drove along the streets with his left arm extended out the broken window, his hand tapping the car roof furiously to the tune: “Du nu nu nu nu nu nu na. So what. Du nu nu nu nu nu nu na. So what.

Myron dialed furiously and hit the send button. At that exact moment, he heard a sound like a twig breaking and then static. The goon with the Yankees cap had snapped off his antenna. This wasn’t good. Myron kept himself low. He opened the glove compartment and reached inside. Nothing but maps and registration. His eyes searched the floor anxiously for some sort of weapon. The only thing he saw was the car cigarette lighter. Somehow he doubted that it would be effective against two armed goons. Maps, registration card, cigarette lighter. Unless Myron suddenly became MacGyver, he was in serious trouble. He

Like static in the air. A net closing, a car circling. Two weeks of digging into the past, and all the lies were rising to the surface.

So Stephen’s pain is over. He is no longer trapped in the static of his mind. Tormented by stabs of clarity, like a drowning man surfacing above the waves before being engulfed again. There will be no further decline. From here on the decline will be all hers. The pain all hers. She is glad of it, deserves to endure it. It feels like penance. Penance for helping to kill Stephen? Is that right? No. Elizabeth doesn’t feel guilt at the act. She knows in her heart that it was an act of love. Joyce will know it was an act of love. Why does she worry what Joyce will think? It is penance for everything else she has done in her life. Everything that she did in her long career, without question. Everything she signed off, everything she nodded through. She is paying a tax on her sins. Stephen was sent to her, and then taken away, as a punishment. She will speak to Viktor about it; he will feel the same. However noble the causes of her career were, they weren’t noble enough to excuse the disregard for life. Day after day, mission after mission, ridding the world of evil? Waiting for the last devil to die? What a joke. New devils will always spring up, like daffodils in springtime. So what was it all for? All that blood? Stephen was too good for her tainted soul, and the world knew it, so the world took him away. But Stephen had known her, hadn’t he? Had seen her for what she was and who she was? And Stephen had still chosen her? Stephen had made her, that was the truth. Had glued her together. And here she lies. Unmade. Unglued. How will life go on now? How is that possible? She hears a car on a distant road. Why on earth is anybody driving? Where is there to go now? Why is the clock in the hall still ticking? Doesn’t it know it stopped days ago? On the way to the funeral, Joyce had sat with her in the car. They didn’t speak because there was too much to say. Elizabeth looked out of the window of the car at one point, and saw a mother pick up a soft toy her child had dropped out of its pram. Elizabeth almost burst into laughter, that life was daring to continue. Didn’t they know? Hadn’t they heard? Everything has changed, everything. And yet nothing has changed. Nothing. The day carries on as it would. An old man at a traffic light takes off his hat as the hearse passes, but, other than that, the high street is the same. How can these two realities possibly coexist? Perhaps Stephen was right about time? Outside the car window, it moved forward, marching, marching, never missing a step. But inside the car, time was already moving backward, already folding in. The life she had with Stephen will always mean more to her than the life she will now have going forward. She will spend more time there, in that past, she knows that. And, as the world races forward, she will fall further and further back. There comes a point when you look at your photograph albums more often than you watch the news. When you opt out of time, and let it carry on doing its thing while you get on with yours. You simply stop dancing to the beat of the drum. She sees it in Joyce. For all her bustle, for all her spark, there is a part of her, the most important part, locked away. There’s a part of Joyce that will always be in a tidy living room, Gerry with his feet up, and a young Joanna, face beaming as she opens presents. Living in the past. Elizabeth had never understood it, but, with intense clarity, she understands it now. Elizabeth’s past was always too dark, too unhappy. Family, school, the dangerous, compromising work, the divorces. But, as of three days ago, Stephen is her past, and that is where she will choose to live.

Well, you ever been to Nebraska before?” asked Arden. “I’ve flown over it a few times,” Buster said, “I would imagine.” For the rest of the ride to Buster’s hotel, there was the all-encompassing sound of five men not talking, the radio broken and filled with static, the car’s engine going just a little faster than it had before.

The game had only two rules. The first was that every statement had to have at least two words in which the first letters were switched. “You’re not my little sister,” Shawn said. “You’re my sittle lister.” He pronounced the words lazily, blunting the t’s to d’s so that it sounded like “siddle lister.” The second rule was that every word that sounded like a number, or like it had a number in it, had to be changed so that the number was one higher. The word “to” for example, because it sounds like the number “two,” would become “three.” “Siddle Lister,” Shawn might say, “we should pay a-eleven-tion. There’s a checkpoint ahead and I can’t a-five-d a ticket. Time three put on your seatbelt.” When we tired of this, we’d turn on the CB and listen to the lonely banter of truckers stretched out across the interstate. “Look out for a green four-wheeler,” a gruff voice said, when we were somewhere between Sacramento and Portland. “Been picnicking in my blind spot for a half hour.” A four-wheeler, Shawn explained, is what big rigs call cars and pickups. Another voice came over the CB to complain about a red Ferrari that was weaving through traffic at 120 miles per hour. “Bastard damned near hit a little blue Chevy,” the deep voice bellowed through the static. “Shit, there’s kids in that Chevy. Anybody up ahead wanna cool this hothead down?” The voice gave its location. Shawn checked the mile marker. We were ahead. “I’m a white Pete pulling a fridge,” he said. There was silence while everybody checked their mirrors for a Peterbilt with a reefer. Then a third voice, gruffer than the first, answered: “I’m the blue KW hauling a dry box.” “I see you,” Shawn said, and for my benefit pointed to a navy-colored Kenworth a few cars ahead. When the Ferrari appeared, multiplied in our many mirrors, Shawn shifted into high gear, revving the engine and pulling beside the Kenworth so that the two fifty-foot trailers were running side by side, blocking both lanes. The Ferrari honked, weaved back and forth, braked, honked again. “How long should we keep him back there?” the husky voice said, with a deep laugh. “Until he calms down,” Shawn answered. Five miles later, they let him pass. The trip lasted about a week, then we told Tony to find us a load to Idaho. “Well, Siddle Lister,” Shawn said when we pulled into the junkyard, “back three work.” — THE WORM CREEK OPERA HOUSE announced a new play: Carousel. Shawn drove me to the audition, then surprised me by auditioning himself. Charles was also there, talking to a girl named

On a gray afternoon I sit in a silent room and contemplate din. In the street a single car passes - a rapid bass vowel - and then it is quiet again. So what is this uproar, this hubbub, this heaving rumble of zigzag static I keep hearing? This echo chamber spooling out spirals of chaos? An unmistakable noise as clearly mine as fingerprint or twist of DNA: the thrum of regret, of memory, of defeat, of mutability, of bitter fear, made up of shame and ambition and anger and vanity and wishing. The soundtrack of a movie of the future, an anticipatory ribbon of scenes long dreaded, of daydreams without a prayer of materializing. Or else: the replay of unforgotten conversations, humiliating, awkward, indelible. Mainly it is the buzz of the inescapably mundane, the little daily voice that insists and insists: right now, not now, too late, too soon, why not, better not, turn it on, turn it off, notice this, notice that, be sure to take care of, remember not to. The nonstop chatter that gossips, worries, envies, invokes, yearns, condemns, self-condemns.

And more importantly, the spell remained static in the spot where it was cast. The magical shell disappeared the moment I cast it, rocketing away toward car 16, then 17, then 18, then 19, then 20, and then away, stuck in that same place along the tracks it’d been when I cast, pushing all the mobs along with it like a bulldozer, squishing them into paste against the first surface they met.

Will we, as a society, pick a comfortable, static level of existence, requiring a modest amount of production that robots could easily supply? Or shall we put a flying car in every garage, usher in the next Atomic Age, and inherit the stars?

It’s quiet up here—not silent, that is a thing she’s yet to find in a city, a thing she is beginning to think lost amid the weeds of the old world—but as quiet as it gets in this part of Manhattan. And yet, it is not the same kind of quiet that stifled her at James’s place, not the empty, internal quiet of places too big for one. It is a living quiet, full of distant shouts and car horns and stereo bass reduced to an ambient static.