Typewriters Quotes - Page 7

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.

The more I hear of ban-the-gun legislation forming in Washington, and the more I hear it advocated from the editorial pulpit of the New York Times, the more I want my own .45 holstered within easy reach of this typewriter.

and sometimes I sit down at my typewriter and I think not of someone cause there isn't anyone to think about and i wonder is it worth it

There was a time when most people had a choice between two kinds of personal communication, handwriting or using a typewriter. Today, people are invited to choose from a list of (surprisingly exotic) typefaces every time they turn on their computer. I think this has made everyone more aware of the idea that picking a typeface is a conscious choice.

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.

Some professional writers write everyday no matter what and perhaps that's the way it should be done, but it's not the way I do it. If I'm not pregnant with words and I'm not in labor with them, I don't even try to bring them forth because they won't be any good anyway. Once I'm ready to deliver, it's like being pregnant. I've got to find a typewriter or a piece of paper. The only words that have ever had any possible value to others seem to have been those words that just had to come out.

I view the JVM as just another architecture that Perl ought to be ported to. (That, and the Underwood typewriter...)

Ink and paper are as cheap as sand or water, almost. No board of directors has to convene in order to decide whether we can afford to write down this or that. I myself once staged the end of the world on two pieces of paper- at a cost of ...less than a penny, including wear and tear on my typewriter ribbon and the seat of my pants. 'Think of that.

It all depends on what I'm working on and if there is a deadline involved. Anything that's headed toward a magazine or newspaper is hacked out on the computer; that's a matter of efficiency. I write longer pieces of prose on a typewriter because the act of retyping it for the computer is a useful tactic for revision. Poems tend to be written longhand.

When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.

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.

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 type 90 words per minute on the typewriter; I type 100 words per minute on the word processor. But, of course, I don't keep that up indefinitely - every once in a while I do have to think a few seconds.

I don't do rewrites. I put all the pages in a pile next to the typewriter.

I never had a typewriter. I never had any machines.

To say, "Well, I write when I really get into it" is a bunch of bull. Put the paper in the typewriter, stare at it a long time, get snowblindness if you have to, but write something.

You know... that a blank wall is an apalling thing to look at... The wall of a museum - a canvas - a piece of film - or a guy sitting in front of a typewriter. Then, you start out to do something - that vague thing called creation. The beginning strikes awe within you.

Usually, the way I write is to sit down at a typewriter after that year or so of what passes for thinking, and I write a first draft quite rapidly. Read it over. Make a few pencil corrections, where I think I've got the rhythms wrong in the speeches, for example, and then retype the whole thing. And in the retyping I discover that maybe one or two more speeches will come in. One or two more things will happen, but not much.

Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.

There are moments when I cannot bear this unremitting consciousness. It knows only itself. Awake, I am in a continuum with my dreams. I feel my typewriters, my table, my chair to have that assurance of a solid world, where things take up space, where is not the endless emptiness of insubstantial thought that leads to nowhere but itself. My memories pale as I prevail upon them again and again. They become more and more ghostly. I fear nothing so much as losing them altogether and having only my blank endless mind to live in.

When my head is in the typewriter the last thing on my mind is some imaginary reader. I don't have an audience; I have a set of standards.

I write on the typewriter. I like it because I like the feeling of making something with my hands. I like pressing the key and a letter comes up and is printed on a piece of paper. I can understand that.

I understand that computers, which I once believed to be but a hermaphrodite typewriter-cum-filing cabinet, offer the cyber literate increased ability to communicate. I do not think this is altogether a bad thing, however it may appear on the surface.

It's very simple... this banging around with a camera and typewriter as a business is just one helluva lot of fun.

I publish six books a year now, which is very exciting. But it keeps me into my typewriter at all times! Now that my children have grown up, I'm with my typewriter 20 hours a day.