Revisited is a series in which writers look back on a work of art they first encountered long ago.
The Zenith Z-19 is not a computer. It’s an end point of memory and desire, a vanishing horizon, a terminus, a terminal. It is also certainly not a monitor.
In 1979 my family’s Zenith Z-19 sat dull-eyed on a whitewashed, built-in desk in my parents’ L-shaped bedroom in New Hampshire. That year I was ten, and I was never not at that terminal. I beheld my Zenith Z-19 as I never had, and never will, not even close, observe a great painting or statue at Angkor Wat or the Vatican. I will never gaze at the aurora borealis that way—something as wordless, undying and not mine as the night sky? Frankly I find it hard to believe stars hold more than the polite interest of other people.
Was it flat? It was, to the touch. You could jab in, past the hard, battleship-hued casing, touching a rectangular screen with pleasing dimensions that drew on the golden mean. Whatever static my fingers lifted, I remember it as minor, but I distinctly remember the uppermost layer of that machine’s complexion to be petal-soft and cool—poreless, scaleless, hairless, but vibrating with life like a mammal. I can see it now, in a cramped image, on my tarty MacBook pixmap, where the old terminal’s recessive palate seems despairingly out of place. On Wikipedia, the screen plays as olive drab—but drab it was not. Read More