Typewriter Quotes (displaying: 1 - 30 of 103 quotes )
Writing is something that you don't know how to do. You sit down and it's something that happens, or it may not happen. So, how can you teach anybody how to write? It's beyond me, because you yourself don't even know if you're going to be able to. I'm always worried, well, you know, every time I go upstairs with my wine bottle. Sometimes I'll sit at that typewriter for fifteen minutes, you know. I don't go up there to write. The typewriter's up there. If it doesn't start moving, I say, well this could be the night that I hit the dust.
When forced to leave my house for an extended period of time, I take my typewriter with me, and together we endure the wretchedness of passing through the X-ray scanner. The laptops roll merrily down the belt, while I’m instructed to stand aside and open my bag. To me it seems like a normal enough thing to be carrying, but the typewriter’s declining popularity arouses suspicion and I wind up eliciting the sort of reaction one might expect when traveling with a cannon. It’s a typewriter,’ I say. ‘You use it to write angry letters to airport security.
At length the Turk turned to Larry:'You write, I believe?' he said with complete lack of interest.Larry's eyes glittered. Mother, seeing the danger signs, rushed in quickly before he could reply.'Yes, yes' she smiled, 'he writes away, day after day. Always tapping at the typewriter''I always feel that I could write superbly if I tried' remarked the Turk.'Really?' said Mother. 'Yes, well, it's a gift I suppose, like so many things.''He swims well' remarked Margo, 'and he goes out terribly far''I have no fear' said the Turk modestly. 'I am a superb swimmer, so I have no fear. When I ride the horse, I have no fear, for I ride superbly. I can sail the boat magnificently in the typhoon without fear'He sipped his tea delicately, regarding our awestruck faces with approval.'You see' he went on, in case we had missed the point, 'you see, I am not a fearful man.
Cruelty is a mystery, and the waste of pain. But if we describe a world to compass these things, a world that is a long, brute game, then we bump against another mystery: the inrush of power and light…unless all ages and races of men have been deluded by the same mass hypnotist (who?), there seems to be such a thing as beauty, a grace wholly gratuitous…we don’t know what’s going on here. If these tremendous events are random combinations of matter run amok, the yield of millions of monkeys at millions of typewriters, then what is it in us, hammered out of those same typewriters, that they ignite? We must somehow take a wider view, look at the whole landscape, really see it, and describe what’s going on here. Then we can at least wail the right question into the swaddling band of darkness, or, if it comes to that, choir the proper praise.
Coming in from the factory or warehouse, tired enough, there seemed little use for the night except to eat, sleep and then return to the menial job. But there was the typewriter waiting for me in those many old rooms with torn shades and worn rugs, the tub and toilet down the hall, and the feeling in the air of all the losers who had proceeded me. Sometimes the typewriter was there when the job wasn't and the food wasn't and the rent wasn't. Sometimes the typer was in hock. Sometimes there was only the park bench. But at the best of times there was the small room and the machine and the bottle. The sound of the keys, on and on, and shouts: 'HEY! KNOCK THAT OFF, FOR CHRIST'S SAKE! WE'RE WORKING PEOPLE HERE AND WE'VE GOT TO GET UP IN THE MORNING!' With broom sticks knocking on the floor, pounding coming from the ceiling, I would work in a last few lines...
They just sat there looking back at me. The orange queen was clacking her typewriter. Cop talk was no more treat for her than legs to a dance director. They had the calm weathered faces of healthy men in hard condition. They had the eyes they always have, cloudy and grey like freezing water. The firm set mouth, the hard little wrinkles at the corners of the eyes, the hard hollow meaningless stare, not quite cruel and a thousand miles from kind. The dull ready-made clothes, worn without style, with a sort of contempt; the look of men who are poor and yet proud of their power, watching always for ways to make it felt, to shove it into you and twist it and grin and watch you squirm, ruthless without malice, cruel and yet not always unkind. What would you expect them to be? Civilization had no meaning for them. All they saw of it was the failures, the dirt, the dregs, the aberrations and the disgust.
So why do I talk about the benefits of failure? Simply because failure meant a stripping away of the inessential. I stopped pretending to myself that I was anything other than what I was, and began to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at anything else, I might never have found the determination to succeed in the one arena I believed I truly belonged. I was set free, because my greatest fear had been realized, and I was still alive, and I still had a daughter whom I adored, and I had an old typewriter and a big idea. And so rock bottom became the solid foundation on which I rebuilt my life. You might never fail on the scale I did, but some failure in life is inevitable. It is impossible to live without failing at something, unless you live so cautiously that you might as well not have lived at all? in which case, you fail by default.
My mitochondria comprise a very large proportion of me. I cannot do the calculation, but I suppose there is almost as much of them in sheer dry bulk as there is the rest of me. Looked at in this way, I could be taken for a very large, motile colony of respiring bacteria, operating a complex system of nuclei, microtubules, and neurons for the pleasure and sustenance of their families, and running, at the moment, a typewriter.
We are all alike; we have no ties, we know nobody, we own nothing. When one of us dies, they scarcely know where to bury him. Our landlady and the delicatessen man are our mourners, and we leave nothing behind us but a frock-coat and a fiddle, or an easel, or a typewriter, or whatever took we got our living by. All we have ever managed to do is to pay our rent, that exorbitant rent that one has to pay for a few square feet of space near the heart of things. We have no house, no place, no people of our own. We live in the streets, in the parks, in the theaters. We sit in restaurants and concert halls and look about at the hundreds of our own kind and shudder.
There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer. He lives in the ground. He’s a basement kind of guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you. Do you think it’s fair? I think it’s fair. He may not be much to look at, that muse-guy, and he may not be much of a conversationalist, but he’s got inspiration. It’s right that you should do all the work and burn all the mid-night oil, because the guy with the cigar and the little wings has got a bag of magic. There’s stuff in there that can change your life. Believe me, I know.
I used to feel guilty about spending morning hours working on a book; about fleeing to the brook in the afternoon. It took several summers of being totally frazzled by September to make me realize that this was a false guilt. I'm much more use to family and friends when I'm not physically and spiritually depleted than when I spend my energies as though they were unlimited. They are not. The time at the typewriter and the time at the brook refresh me and put me into a more workable perspective.
I started writing because of a terrible feeling of powerlessness," the novelist Anita Brookner has said. The National Book Award winner Alice McDermott noted that the most difficult thing about becoming a writer was convincing herself that she had anything to say that people would want to read. "There's nothing to writing," the columnist Red Smith once commented. "All you do is sit down at a typewriter and open a vein.
Hail! natural desire! Hail! happiness! divine happiness! and pleasure of all sorts, flowers and wine, though one fades and the other intoxicates; and half-crown tickets out of London on Sundays, and singing in a dark chapel hymns about death, and anything, anything that interrupts and confounds the tapping of typewriters and filing of letters and forging of links and chains, binding the Empire together.
All fiction is metaphor. Science fiction is metaphor. What sets it apart from older forms of fiction seems to be its use of new metaphors, drawn from certain great dominants of our contemporary life -- science, all the sciences, and technology, and the relativistic and the historical outlook, among them. Space travel is one of these metaphors; so is an alternative society, an alternative biology; the future is another. The future, in fiction, is a metaphor. A metaphor for what? If I could have said it non-metaphorically, I would not have written all these words, this novel; and Genly Ai would never have sat down at my desk and used up my ink and typewriter ribbon in informing me, and you, rather solemnly, that the truth is a matter of the imagination.
Some things are governed by common sense. Putting buttons on the front of a shirt is a matter of logic, since it would be very difficult to button them up at the side, and impossible if they were at the back. “Other things, however, become fixed because more and more people believe that’s the way they should be. I’ll give you two examples. Have you ever wondered why the keys on a typewriter are arranged in that particular order?
From earliest childhood I was charmed by the materials of my craft, by pencils and paper and, later, by the typewriter and the entire apparatus of printing. To condense from one's memories and fantasies and small discoveries dark marks on paper which become handsomely reproducible many times over still seems to me, after nearly 30 years concerned with the making of books, a magical act, and a delightful technical process. To distribute oneself thus, as a kind of confetti shower falling upon the heads and shoulders of mankind out of bookstores and the pages of magazines is surely a great privilege and a defiance of the usual earthbound laws whereby human beings make themselves known to one another.
I don't care if it can count words or rearrange paragraphs at the push of a button, I don't want a computer. Unlike the faint scurry raised by fingers against a plastic computer keyboard, the smack and clatter of a typewriter suggests that you're actually building something. At the end of a miserable day, instead of grieving my virtual nothing, I can always look at my loaded wastepaper basket and tell myself that if I failed, at least I took a few trees down with me.
But how?" my students ask. "How do you actually do it?" You sit down, I say. You try to sit down at approximately the same time every day. This is how you train your unconscious to kick in for you creatively. So you sit down at, say, nine every morning, or ten every night. You put a piece of paper in the typewriter, or you turn on the computer and bring up the right file, and then you stare at it for an hour or so. You begin rocking, just a little at first, and then like a huge autistic child. You look at the ceiling, and over at the clock, yawn, and stare at the paper again. Then, with your fingers poised on the keyboard, you squint at an image that is forming in your mind -- a scene, a locale, a character, whatever -- and you try to quiet your mind so you can hear what that landscape or character has to say above the other voices in your mind.