I love to photograph the tools of one's trade: Duncan Grant's paintbrushes, the typewriter of Herman Hesse, or even my own guitar, a 1957 Fender Duo-Sonic.
It's very simple... this banging around with a camera and typewriter as a business is just one helluva lot of fun.
... photography is just a medium. It's like a typewriter. Photography as an art doesn't interest me an awful lot; as a participant, though I like to look at it.
Like Paul Kraston said, all I ask in life is a water bed, a TV and a typewriter. Well, I'll just have an ordinary bed, a TV and a guitar.
I've had a lot of typewriters that I've had relationships with; one still has a piece of masking tape that says "$8" on it. I love working on them. I can't fix a computer or a car, but I can fix a typewriter. I like them because you can write on them late at night, depending on what you're fortifying yourself with, and the next morning you can still figure what you wrote.
I'm not much of a correspondent. My letters are not only uninteresting but sparse. I'm glad I don?t have to write for a living. It?s arduous work and the money is very uncertain. On those rare occasions when I wander into a bookstore it amazes me to see the avalanche of literature and semi-literature that is turned out weekly in this country. The people who write these things are either desperate for money or love starved. Why should anyone on a nice balmy day lock oneself in an office and hit a typewriter for hours on end. I think one of the greatest pleasures in the world is not writing.
I don't even own a computer. I write by hand then I type it up on an old manual typewriter. But I cross out a lot - I'm not writing in stone tablets, it's just ink on paper. I don't feel comfortable without a pen or a pencil in my hand. I can't think with my fingers on the keyboard. Words are generated for me by gripping the pen, and pressing the point on the paper.
I think being a writer was a crappy job when you just had typewriters. It was crappy when we just had ink and paper. And it's sort of crappy now. It's always just you and the page. That doesn't change.
I write most of my first drafts on an old manual typewriter, a really old one. It's a big black metal "Woodstock" from about 1920. I try to write everything down at once, in one sitting. The longer stories in this collection are divided up into sections. Each section represents a different sitting, a different idea for the same story.
I have many stories which don't make it to the computer. When I put it into the computer I make some changes and often add a few sentences here and there. I like the typewriter for first drafts because it means you can't change anything right away, you just have to put it all down.
For me, form is something I locate in the process of writing the poems. What I mean is, I start scribbling, and then try to form the poem - on a typewriter or on my computer - and, by trial and error, try to find the right shape. I just try to keep forming the poem in different ways until it feels right to me.
It's just interesting to me that the physical enactment of that mind moving has gradually changed for you in the last few years. It made me wonder if the change was deliberate in any sense, or procedural, like when A.R. Ammons stuck an adding machine roll into his typewriter to squeeze his verses into shorter lines.
Writing, even though it's hard work, is really a joy when you get these characters to come alive. It's hard to trace where they come from. I can't say that I am sitting here one night at nine o'clock and that a character occurs to me. The magic for me happens at the typewriter.
As a writer, you have to believe you're one of the best writers in the world. To sit down every day at the typewriter filled with self-doubt is not a good idea.
If a young aspirant had a modicum of skill and a busy typewriter she or he would sooner or later get a foothold in one of the magazines and a leaping start on the ladder upward.
I remember being out here at the Sunset Marquis, and whoever knocked on the door, I would take that picture that I was writing and I would put that in the typewriter, so when I had the meeting, they would say: 'Oh, you're working on it right now?'
It took me thirty-six years; and, in some fifty stories, ranging in length from short-shorts to novels, I think I must have touched, in one way or another, on every aspect of computers and computerization. And (mark this!) I did it without ever knowing anything at all about computers in any real sense. To this day, I don't. I am totally inept with machinery... on my typewriter I turn out books at the contemptible rate of one a month
I write by ear. I tried writing with the typewriter, but I found it too unwieldy
Mma Ramotswe had a detective agency in Africa, at the foot of Kgale Hill. These were its assets: a tiny white van, two desks, two chairs, a telephone, and an old typewriter. Then there was a teapot, in which Mma Ramotswe – the only lady private detective in Botswana – brewed redbush tea. And three mugs – one for herself, one for her secretary, and one for the client. What else does a detective agency really need? Detective agencies rely on human intuition and intelligence, both of which Mma Ramotswe had in abundance. No inventory would ever include those, of course.
They gave 12 monkeys a typewriter for a week, and after a week, they only used it as a bathroom.
I get up in the morning, torture a typewriter until it screams, then stop.
I talk to my typewriter and that is what I've been working on for 40 years-how to write for talking.
I enjoy the process of writing. The torment comes in getting my bottom on the chair and in front of the typewriter.
I edit as I go. Especially when I go to commit it to paper. I prefer a typewriter even to a computer. I don't like it. There's no noise on the computer. I like a typewriter because I am such a slow typist. I edit as I am committing it to paper. I like to see the words before me and I go, "Yeah, that's it." They appear before me and they fit. I don't usually take large parts out. If I get stuck early in a song, I take it as a sign that I might be writing the chorus and don't know it. Sometimes,you gotta step back a little bit and take a look at what you're doing.
Nate Silver says this is a 73.6 percent chance that the president is going to win. Nobody in that campaign thinks they have a 73 — they think they have a 50.1 percent chance of winning. And you talk to the Romney people, it’s the same thing.
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