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Peter Greste Finally Freed

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Peter Greste reports for Al-Jazeera on "Writing on the wall for Rwanda's typists" from Kigali in October 2013, two months before he was falsely arrested in Egypt.
See video below.
Qatar-based Australian Al-Jazeera journalist Peter Greste, 49, has finally been freed and deported from Egypt and flown to Cyprus after 400 days in a Cairo jail. Greste was freed by order of Egypt's president Abdel Fattah al-Sisi under a new law allowing foreign prisoners to be deported. His unjust jailing, along with that of two Al-Jazeera colleagues, provoked an international outcry.
Greste, an ex-BBC, Reuters and CNN foreign correspondent, was arrested in December 2013 and tried on trumped up charges that included spreading false news and aiding the Muslim Brotherhood. Greste was found guilty and sentenced to seven years jail last June 23.
Greste's colleagues, Mohamed Fahmy and Baher Mohamed, remain jailed. It is hoped Fahmy will be deported to Canada, but concern remains about Mohamed, who holds no dual nationality. Fahmy, who holds dual Egyptian and Canadian citizenship, may be freed after having his Egyptian nationality revoked.
The three rightly denied the charges against them and declared their trial a sham. They were wrongly accused of collaborating with the banned Muslim Brotherhood after the overthrow of President Mohammed Morsi by the military in 2013. In their defence, the three men said they were simply reporting the news.

Not quite as pristine as Richard Polt's latest acquisition

They have been producing documents, and even love letters, for people with no access to printers or computers. But the relentless march of technology is forcing street typists in Rwanda to re-adjust.







Olivetti Lettera 32 on its way

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This Ivrea-made Olivetti Lettera 32 portable typewriter left here this morning, westward-ho. It was distributed by Olivetti Australia of Macdonell House, 321 Pitt Street, Sydney, and sold by Australian Capital Territory Olivetti agent Ronald Bland, on Ipswich Street, Fyshwick, Canberra.
Based on questions I often get asked by new users of this model, I typed out the following notes for the new owner. They cover most of the basics contained in an original instruction sheet, such as the one above, but also include a few other pointers more relevant, perhaps, to the present time:
NOTES:
1.              DO NOT under any circumstances dispose of the existing ribbon spools. These are specific Olivetti-fit spools, with a peculiar wide centre opening, and are irreplaceable.
2.            When needed, replace ribbon with Malaysian-made Fullmark Universal typewriter ribbon, winding the new ribbon off the plastic spools on to existing Olivetti metal spools.
3.            DO NOT use WD40 as a lubricant. Use Australian Export lubricant on all parts of the machine.
4.            The carriage lock, under the right side of carriage, can be easily applied by accident. If the carriage locks, simply slip up the lock lever.
5.            From time to time, check the tightness of the ribbon spools nuts, which are vital to the correct movement of the spools – not too tight, not too loose. With the ribbon spools cover off, test type to ensure the spools are turning correctly. Check the ribbon movement mechanism (switches in front of the spools).
6.            There are eyelets at each end of the ribbon which should automatically reverse the direction of the spools, but take care that they do not slip through the metal gates which switch the ribbon direction (and get caught in the vibrator).
7.            When carrying the typewriter out of its case, use three middle fingers under the front lip of the ribbon spools cover, clasping the metal bar with the fingers.
8.           The unmarked key at the top left of the keyboard is a right margin release key, which allows continued typing after reaching the right margin. Use lower “l” for the figure 1.
9.            Beside the margin release key is a lever to set and release tabulations.
10.         The red key is the tabulation key.
11.           DO NOT under any circumstances use Wite Out. This leaves difficult-to-remove marks on the platen and feed rollers and also the mask of the machine.
12.         Ensure the comb of the segment is kept free of dirt, ash, eraser rubbings etc.
13.         Clean the typeslugs on the typebars with an old toothbrush dipped in Shellite, ensuring the liquid does not splash on to the machine and platen.
14.         Take care that the ribbon is wound on as shown here. Wind it outside the two outer pins and through the gates, then as shown through the ribbon vibrator:
15.         Ensure the ribbon vibrator is in no way impeded at any time.
16.         The front lever on the right side of the carriage is a platen release switch which allows straightening of the paper after the paper has been wound on to the platen.
17.         Ensure the escapement release levers at the back on each side of the carriage are always in the “up” position after using for free movement of the carriage.
18.        The line spacing switch is on the left side of the carriage.
19.         There is a colour selector switch on the right side of the keyboard. Black-and-red typewriter ribbons are no longer imported into Australia but can be bought online. The middle settling (neutral) is designed for manifolding and disables the ribbon vibrator.

20.       When packing the typewriter in its case, ensure the carriage return lever is folded downwards.

A Lesson From Harper Lee

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To Kill a Mockingbird author Harper Lee working as the editor of the Rammer Jammer magazine while at the University of Alabama in Tuscaloosa in 1947.
It strikes me that there is a lesson to be learned from the finding of a 304-page unpublished typewritten Harper Lee manuscriptThe book, Go Set a Watchman, was written in the mid-1950s, before To Kill a Mockingbird, and submitted for publication in 1957. To Kill a Mockingbird was published on July 11, 1960.
Though this earlier manuscript is said to have been found, last northern fall, in what Lee now says was “a secure location”  - affixed to an original draft of To Kill a Mockingbird - one has to wonder what might have happened to it if, say, it had been written by a modern-day author using a computer.
What if the modern writer puts together a 304-page manuscript, gets discouraged about it by a publisher and writes a revised version, one which becomes a massive worldwide success (not to mention a great movie)? Would the first digitally written manuscript survive? (Lee, in fact, thought the typewritten Go Set a Watchman manuscript had been lost, until it was found late last year by attorney and friend Tonja Carter.)
This 1957 Lee typewritten manuscript has survived the best part of 60 years, precisely because of the machine upon which it was written. Of course, a present-day writer might retain a print-out of a first draft, or a copy of it on a disc, but there must also be a risk a rejected work, in digital form, would be deleted and lost forever. After all, as Lee herself said in a letter to Oprah Winfrey in 2006, she has maintained a lifetime dedication to the written word but people today prefer to have "minds like empty rooms". 
This photograph was taken on May 1, 1961, by Donald Uhrbrock for a LIFE magazine article on Harper Lee. The article appeared in the May 26 issue of LIFE and, according to the caption, the photo shows Lee sitting at a typewriter in her father's law office during a trip back to her home town of Monroeville, Alabama. It was in this office, according to LIFE, that To Kill a Mockingbird was written.
Lee with her father, Amasa Coleman "Coley" Lee, the model for Atticus Finch.
Go Set a Watchman is set two decades after To Kill a Mockingbird but in the same fictional town of Maycomb, Alabama. It details what happens when To Kill a Mockingbird’s child narrator, Scout Finch, now an adult living in New York, returns to visit her father, Atticus. In its original form, Go Set a Watchman told the To Kill a Mockingbird story in flashbacks.
Lee's publisher Harper announced this week that two million copies of her second novel are scheduled for release on July 14, 55 years after the first. Lee turns 89 on April 28. She suffered a stroke in 2007.
To Kill a Mockingbird has sold more than 40 million copies worldwide and continues to sell at a rate of one million copies a year.
Lee at a typewriter at the University of Alabama in Tuscaloosa in 1947. 
Nelle Harper Lee was born and raised in Monroeville, the daughter of a former newspaper editor and owner who practised law and served in the Alabama State Legislature from 1926-38. Nelle was a close friend of schoolmate and neighbour Truman Capote. While enrolled at Monroe County High School, Lee developed an interest in English literature. After graduating from high school in 1944, she attended the then all-female Huntingdon College in Montgomery for a year, then transferred to the University of Alabama in Tuscaloosa, where she studied law.
In 1949, Lee moved to New York City and took a job as an airline reservation agent, writing fiction in her spare time. She found an agent in November 1956 and eventually showed a manuscript to Tay Hohoff, an editor at J. B. Lippincott & Co - a string of stories more than the novel Lee had intended. Under Hohoff's guidance, 2 1/2 years of rewriting followed. The result was To Kill a Mockingbird, which in 1999 was voted "Best Novel of the Century" in a poll by the Library Journal. Lee worked on a follow-up novel called The Long Goodbye but eventually filed it away unfinished.

The Early Art of Olivetti

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According to Olivetti 1908-1958 (by Giorgio Soavi, published by Ing C.Olivetti & C SpA, Ivrea, October 1958) it was in 1913 (not 1912) that, "As the commercial organisation of the Olivetti company expands, its first advertising posters appear, designed by the Venetian painter Teodoro Wolf Ferrari." This poster by Wolf Ferarri is for the Olivetti M1.
Teodoro Wolf Ferrari was born in Venice on June 29, 1878, the son of painter August Wolf and Emilia Ferrari and the brother of musician Ermanno Wolf Ferrari. A disciple Guglielmo Ciardi, Pietro Fragiacomo and Millo Bortoluzzi, Wolf Ferrari studied at the Academy of Venice. In 1896 he went to Monaco in Bavaria, where he came in contact with the group Die Scholle, a cultural movement open to influences and innovation in open confrontation with the tradition, through the Art Nouveau Jugendstil. In 1902 Wolf Ferrari took part in the Turin international exhibition for the decorative arts, and in Venice in 1904 in the competition for the Manifesto Grand'Hotel of Italy. In 1908 he decorated the Cafe Santa Margherita and the Grande Stabilimento Bagni al Lido in Venice. He collaborated with Vittorio Zecchin in the applied arts and in particular in the glass for the firm Barovier. At Ca 'Pesaro in Venice he put together an exhibition of 52 works, which he moved to Stockholm and Hanover in 1913. In 1913 and in 1915 he took part in exhibitions of the Secession in Rome and in 1912 and 1914 at the Venice Biennale. In 1919 he was among the founders of the Young Artists of Venice. In 1924 he was sent by Vittorio Emanuele III to Libya, where he painted a series of 32 works in oil on colonial subjects. Back in Italy, Wolf Ferrari spent the rest of his life between Venice and San Zeno Ezzelini, devoting himself to painting landscapes. He died in San Zeno Ezzelini on January 27, 1945, aged 66.
This 1923 poster, promoting the Olivetti M20, is the work of Giovanni Pirovano, not Ernesto Pirovano, as has been generally stated. Ernesto was an architect, not a painter; Giovanni was a landscape artist of some note. The signature at the top left of the Olivetti poster proves it was the work of Giovanni Pirovano, born in Milan in 1880. Compare it with the signature on the landscape below.
In 1905 Giovanni Pirovano abandoned management of his family's textile business to become a pupil of the Cesare Tallóne Accademia di Brera in Milan, of which he later became an honorary member. He devoted himself to the framework of the figure, still life and landscape, genres in which he preferred views of Brianza and Valtellina. He ranged from oil painting to pastel and watercolor. His works testify to a loyalty to the tradition of Lombard Naturalism. Pirovano died in 1959.
These two M20 posters, from 1926, are by Marcello Dudovich, born in Trieste on March 21, 1878. Inspired by Edward Penfield, by his friend and teacher Adolfo Hohenstein and by Alphonse Mucha, Dudovich became a renowned Italian painter, illustrator and poster designer. Together with Leonetto Cappiello, Adolfo Hohenstein, Giovanni Maria Mataloni and Leopoldo Metlicovitz, Dudovich is considered one of the progenitors of Italian poster design. 
He moved from Trieste to Milan in 1897 after attending a professional art school. He was recruited as a lithographer by Ricordi, a music publisher, thanks to his father's friendship with the illustrator and cartoonist Leopoldo Metlicovitz, and was given charge of advertisement design. In 1899 he transferred to Bologna, working there for the publisher Edmondo Chappuis in designing billboards, book covers and illustrations for publications such as Italia Ride in 1900 and Fantasio in 1902. In 1900 he won a gold medal at the Paris World's Fair.
In 1905 Duduvich returned to Milan to rejoin Ricordi and designed some of his best known posters, including "Mele di Napoli". 
In the 1920s he made several posters for the Milan department store La Rinascente, and in 1922 he was appointed artistic director of Igap. In 1930 he designed a prominent poster for Pirelli. After the Second World War he moved away from the world of commercial art, concentrating instead on his painting. Dudovich died in Milan from a cerebral hemorrhage on March 31, 1962, 10 days after his 84th birthday. 
Some other notable Dudovich works:

Get on ya bike - with typewriter

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From the South Australian Chronicle, Adelaide, August 25, 1894
South Australian Rohan Dennis' world record performance of cycling 32.8 miles (52.5km) in an hour at the Velodrome Suisse in Grenchen, Switzerland, overnight means that in the lifetime of the typewriter, this record has been advanced by just 18.3mph.
The first world record for one hour's cycling was set by Englishman James Moore, riding a then state-of-the-art Eugène Meyer-designed 43-inch French Spider tension-wheel bicycle, using toe-clips, at 14 1/2 miles at the Molineaux Grounds in Wolverhampton on May 31, 1873.
James Moore, in later years, with his racing bike
That same year it took four members of the Middlesex Bicycle Club 14 days to ride from London to John O'Groats, averaging a substantial 49 miles a day to cover a distance of 685 miles.
Australian poet C.J. Dennis (The Sentimental Bloke) used an Empire typewriter.
I haven't yet been able to ascertain whether Dennis, the 24-year-old cyclist who comes from Ashford in Adelaide, is in any way related to our great poet C.J. Dennis, but I do now know that the poet used an Empire typewriter. C.J. Dennis came from Auburn, north of Adelaide.
Typewriting cycling champion Henri Desgrange
What I can say with a large degree of certainty is that Henri Antoine Desgrange, who broke the world one-hour cycling record at a tick over 22mph at the Vélodrome Buffalo in Paris on May 11, 1893, was very much a typewriter user.
Desgrange, born in Paris on January 31, 1865, founded the Tour de France in 1903 and was a pioneering French sports journalist. He set 12 world track cycling records as well as being a tricycle champion in 1893.
In 1897 he became director of the Parc des Princes velodrome and then in December 1903 of France's first permanent indoor track, the Vélodrome d'Hiver, near the Eiffel Tower. He became founding editor of L'Auto-Vélo (later just L'Auto) in 1900. Desgrange died at Beauvallon on August 16, 1940, aged 75.
Henri Desgrange in his office at L'Auto in Paris
Rohan Dennis' achievement extends Australia's long and rich history in cycling. Among the earliest importers of cycles (Bostedo) into this country were American-born Walter Edward Fisher and Canadian-born William Alexander Lingham (1866-1951). These two were also among Australia's leadingtypewriter sellers at the turn of the 20th century, notably with their agency for Smith Premier machines. As well, Fisher and Lingham of the Victoria Arcade in Sydney advertised L.C.SmithCaligraph, Postal, Junior, Hammond, Sholes Visible, Blickensderfer, New Century, Williams, Sun Visible and Yost typewriters.
Australian Town and Country Journal, April 23, 1887
The finish of the one-mile track race between professionals and amateurs at Moore Park in Sydney (now the Sydney Cricket Ground), Australian Town and Country Journal, Sydney, February 19, 1887.  
Cyclists v Cowboys in London, Australian Town and Country Journal, December 31, 1887

1902 Australian Manual for Remington Typewriters Models 5-9

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This Australian Remington Typewriter Manual was produced in 1902 by Sir Isaac Pitman & Sons of London for Stott and Hoare's Business College at the Martin Chambers at 26-28 Moore Street in Sydney. Stott and Hoare were at the time Australian agents for Remington typewriters, but lost the agency in 1906 to Chartres. Chartres took over this college but retained the business name Stott & Hoare. Japanese students, who arrived here by ship from Yokohama, were also taught typing at this college during Alexander Wilkie Nicol's management. Nicol (1872-1930) remained in charge after the Chartres takeover. The Stott family opened a Stott's New Business College in the Norwich Chambers on Hunter Street.


Spot the Olympia SM9 at the Grammys?

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"South Australia's camera-shy pop star Sia Furler enlisted American actresses Kristen Wiig and Dance Moms star Maddie Ziegler for her Chandelier performance at Sunday night's Grammy Awards at the Staples Centre in Los Angeles. Wiig, 41, seemed an offbeat choice of avatar for the 39-year-old Sia, who kept her back turned to the crowd. Wiig donned her signature platinum blonde fringed wig with an unflattering, tear-away jumpsuit for the interpretive dance. She wildly girated in a set resembling a broken-down apartment, featuring an overturned mattress and a light bulb-riddled ceiling. The similarly-clad 12-year-old Ziegler joined Wiig in a whirling dervish through the cluttered stage."

Typewriter Books

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Two thousand and fifteen is shaping as the most exciting year for typewriter books since 1997. Not since two impressive tomes called Antique Typewriters came out that year has there been such a buzz of anticipation. Before 1997, the big year had been 1954, and before that 1923: in each of those years, two great typewriter works appeared. I know of at least three typewriter books in the pipeline for 2015, but I am certain that, like me, the vast majority of typewriter lovers will by now have just the one at the top of their must-buy lists.
 It is Richard Polt's The Typewriter Revolution: A Typist's Companion for the 21st Century. It is not due out until November 12, but can be ordered here. I have already pre-paid for my copy, and am keeping abreast of publication developments through Facebook. See other links here.
So, with typewriter books very much on my mind, here are some of my favourite typewriter publications from the past 106 years, at least the ones of which I own copies:

The History of the Typewriter: Being an Illustrated Account of the Origin, Rise and Development of the Writing Machine 
by G.C. Mares
 (Originally published by Guilbert Pitman, London, 1909; republished, hardcover, as The History of the Typewriter: Successor to the Pen by Daniel Roger Post, Post-Era Books, Arcadia, California, 1985)
The Dan Post reproduction
George Carl Mares was born in early 1862 in Lewisham, south-east London, the son of Richard Mares, a Plumstead "fancy box cutter". George Mares started work as a porter in Clerkenwell in London and was a shorthand writer when he married Sarah Vanner in 1888. That same year he published the monograph National Shorthand. The next year, Frederick Pitman published Mares' Rational Shorthand: A Script-Geometrical Syllabic Vowel-Connective System of Phono Stenography.
By 1890 Mares was running the School of Modern Shorthand in Plaistow and had published National Stenography: Being an Entirely New System of Shorthand. Employing Script Geometrical Signs, and Written Strictly According to the Rules of English Orthography (Part 1: The Corresponding Style)In 1891 Mares was a solicitor's clerk in East Ham and in 1901 an accountant's clerk. Although they had a young family, Sarah Mares was a working wife and ran a stationery shop and newsagency in Barking. Mares had sufficient independent wealth to be able to travel annually to the United States, at least until 1909.
By 1905 Mares had switched his focus to typewriters and had Guilbert Pitman publish his Art of Typewriting: Being Practical Instruction with Graduated Exercises and Model Examples Suited to any Machine, and Including a Method of "Touch" Writing.  The same year his typewriter history came out, Mares also wrote Systematic Business, or, How to Make a Bad Business Good and a Good Business Better, based on a series of articles he had had published in Typewriter Topics in the US. After the publication of his typewriter history, Mares and his daughter May Lillian Mares ran a patent medicine making business from the family home in Wanstead in north-east London. Mares died at Brentford in west London in September 1932, aged 70.
Evolution of the Typewriter
by C.V. Oden
(Published by the Underwood Typewriter Company, New York, 1917)
Charles Vonley Oden was born in Salem, Illinois, on June 2, 1864. He was for many years employed by the Underwood Typewriter Company, mostly in its Education Department. He died on July 23, 1925, at his home, Colonial Heights, in Tuckahoe, New York, aged 61.
The Early History of the Typewriter
by Charles E. Weller
(Self-published in La Porte, Indiana, 1918)
Charles Edward Weller, as chief operator for the Western Telegraph Company in Milwaukee in July 1867, and an associate of Christopher Latham Sholes, was involved in the very early development of the Sholes & Glidden. His ongoing involvement later included putting some of its first prototypes to practical tests, starting in January 1868, after Weller had became a shorthand court reporter in St Louis. Charles Weller was born in Michigan in October 1840. He grew up in La Porte, Indiana, and died there on February 13, 1925, aged 84. Weller's 1921 biography was titled Yesterday: A Chronicle of Early Life in The West, (including "Early Telegraph Days").
A Condensed History of the Writing Machine: The Romance of Earlier Effort and the Realities of Present Day Accomplishment
edited by Ernest M. Best
The Dan Post reproduction
The Dover reproduction
Above, the cover of the original version.
A photocopy of the original version can be read in full here.
(Originally published softcover as a commemorative issue of Typewriter Topics, the International Business Equipment Magazine, managing editor Ernest Merton Best, Business Equipment Publishing Company, New York, October 1923, to mark the 50th anniversary of the US typewriter industry; republished softcover as The Typewriter: History & Encyclopedia, by Geyer's Stationer and Business Equipment Topics, New York, 1924; hardcover as Collector's Guide to Antique Typewriters by Daniel Roger Post, Post-Era Books, Arcadia, California, 1981; and softcover as 
The Typewriter: An Illustrated History - Typewriter Topics by Dover Publications, Mineola, New York, 2000.)
 Ernest Merton Best, above left, and below on his 1910 trip to Europe.
Ernest Merton Best was born in Bradford, Ohio, on May 23, 1875. In 1904, as the financial backer of the publication, he was business manager of the Typewriter Trade Journal, of which George H. Patterson was editor. The following year Best and Patterson went their separate ways, Patterson starting Office Appliances and Best Typewriter Topics.
The Story of the Typewriter 1873-1923 
foreword by John W. Vrooman
(Published by the Herkimer County Historical Society, Herkimer, New York, 1923)
John Wright Vrooman was the president of the Herkimer County Historical Society when he wrote the foreword to the book which the society produced to mark the 50th anniversary of "The manufacture of the first practical writing machines ... at Ilion, Herkimer County, New York, in the autumn of 1873". Colonel Vrooman was born (on March 28, 1844) and died (on November 25, 1929) in Herkimer.
Henry W.Roby's Story of the Invention of the Typewriter
by Henry W. Roby
edited by Milo M. Quaife
(Published by The Collegiate Press, George Banta Publishing, Menasha, Wisconsin, 1925)
Henry Wesley Roby
Henry Wesley Roby’s Story of the Invention of the Typewriter was written in 1905 and edited for publication by Milo Milton Quaife in 1925.  Roby was born in Harmony, Ohio, on July 29, 1842. His family moved to Wisconsin in 1846. In 1862 Roby enlisted as a private in Company K, 22nd Wisconsin Volunteer Infantry, and he remained in service until 1865. During army service he studied phonetic shorthand writing and later worked for Bryant, Stratton & Co's Commercial College as a shorthand teacher. In 1867 Roby was appointed Official Phonographic Court Reporter for the counties of Milwaukee and Kenosha, during which time he befriended Christopher Latham Sholes. He held that position until 1876. But from boyhood his ambition had been to become a doctor, and in 1876 Roby entered Rush Medical College and later the Hahnemann Medical College of Chicago. In 1879 he moved to Topeka. He died there on August 21, 1920, aged 78. According to his obituary in the Topeka Daily Capital“he was involved in the invention of the Remington typewriter”. The truth is he had known Sholes in Milwaukee during the early development of the typewriter, and was a Sholes confidant. He frequented Kleinsteuber's workshop while the typewriter was first taking shape and afterwards tested some of the experimental models, though he was not a partner in the venture. His book "grossly exaggerated his own importance to the enterprise" (Current, see below). 
Die Schreibmaschine und ihre Entwicklungsgeschichte
by Ernst Martin
(Various hardcover editions published: 1920, Gauch, St Gallen; 1934, Johannes Meyer, Pappenheim; 1949, Peter Basten, Aachen; 2003, Leonhard Dingwerth, Delbrück, above)
Ernst Martin was born Emil Johannes Meyer in Frickenfelden on July 30, 1885. Starting at the age of 14, Martin developed an intense interest in office equipment, particularly calculators and typewriters. After training as a clerk he learned the English and French languages. He worked as a foreign correspondent following World War I, and in St Gallen in Switzerland completed the first edition of his extensive typewriter history. From 1922 until his death Martin worked as a writer and publisher in Pappenheim. He died there on October 31, 1949, aged 64.
The Typewriter and The Men Who Made It
By Richard N. Current
The Dan Post reproduction
(Originally published hardcover by the University of Illinois Press, Urbana-Champaign, Illinois, 1954; republished hardcover by Daniel Roger Post, Post-Era Books, Arcadia, California, 1988)
Richard N. Current
Richard Nelson Current was born in Colorado City on October 5, 1912, and graduated from Oberlin College in Ohio in 1934He received a master's degree in 1935 from the Tufts University School of Diplomacy and a doctorate in history from the University of Wisconsin in 1940. Oddly enough for a typewriter historian, a bone disease, osteomyelitis, contracted as a teenager, left Current unable to straighten his right arm and kept him out of the armed services, though not from writing the first draft of his books in long-hand.
A noted Civil War historian, he published the first of more than 30 books in 1942. Current was the co-author of several textbooks on American history, as well as biographies of 19th-century congressional leaders Thaddeus Stevens, Daniel Webster and John C. Calhoun. It was after his typewriter work, starting in 1955, that Current became a authority on President Abraham Lincoln, one of the "deans of Lincoln scholars", addressing seemingly contradictory elements of Lincoln's life and thought, particularly about slavery and race. Current's elegant works on Lincoln led to a deeper understanding of the character of the president.
Dr Current in 1956
Current lectured on history on six continents, including Antarctica, and taught American history at Rutgers, Hamilton College, Mills College, the University of Illinois and the University of Wisconsin, but spent the largest portion of his career at the University of North Carolina at Greensboro. Known as a stickler for solid research and an occasionally sharp critical tongue, Current was a deft writer whose sensitive, stylish prose appealed to readers. Gore Vidal once accused him of being a "professional saint-maker'' and a ‘‘scholar-squirrel'' who "mindlessly gathers little facts.''
Current lived in Natick from 1987 and died of complications from Parkinson's disease at a hospital in Boston on October 26, 2012. He had turned 100 exactly three weeks previously.
The Wonderful Writing Machine
By Bruce Bliven Jr 
(Published hardcover by Random House, New York, for the Royal Typewriter Company, 1954)
Bruce Bliven Jr
Bruce Ormsby Bliven Jr was born on January 31, 1916, in Los Angeles, but moved to the Bronx in New York when he was 16 months old. He was a prolific writer of popular books and magazine articles on subjects as diverse as military campaigns and New York City. Bliven, who wrote for The New Yorker for many years, told The New York Times in 1982 that by putting his typewriter history in what he considered to be the proper perspective, it meant "biting the hand that fed him". The Wonderful Writing Machine was subsidised by the Royal Typewriter Company, which agreed to buy a sizable number of copies without imposing any editorial control. Bliven proceeded to give far more space to Remington than Royal liked. ''I think Royal was a little mad,'' he said.
Bliven received good reviews for many of his books and was known for his fresh, often unexpected approach. In 1970 he began to write about New York "to find out where I was". He wrote three books about the city's history and one about the whole state, ''including Buffalo''.  The books included The Story of the World's Most Exciting City. 
Bliven's father, Bruce Ormsby Bliven Sr (1889-1977), was also a journalist, working his way through Stanford University as a cub reporter for the San Francisco Bulletin and becoming managing editor of The New Republic. He was head of the University of Southern California School of Journalism from 1914-16 and after two years on the staff of Printer's Ink and four as an editorial writer and managing editor for the New York Globe, Bliven Sr joined the New Republic in 1923. His son inherited his father's liberal stance and joined him in quitting the Descendants of the American Revolution in February 1941 after the group opposed the Lend Lease Act aiding countries fighting the Nazis. In 1953, after suffering a heart attack, Bliven Sr returned to Stanford University, where he served as a lecturer in communications and journalism. 
Bliven Jr wrote briefly for a newspaper in Stroudsburg, Pennsylvania, and succeeded his father as New York correspondent for The Guardian in Manchester, England, before graduating from Harvard (where he was president of the Liberal Club) in 1937. He then wrote editorials for The New York Post, leaving to serve in World War II. He was a lieutenant in the field artillery and took part in the D-Day landings in Normandy. He wrote a book about it called The Story of D-Day, June 6, 1944 (Random House, 1956). When he returned to civilian life, he became a magazine writer who ranged across many subjects with deep knowledge.
Among Bliven Jr's other titles were The American Revolution: 1760-1783, From Pearl Harbor to Okinawa: The War in the Pacific 1941-1945From Casablanca to Berlin: The War in North Africa and Europe, 1942-1945, Under the Guns: New York 1775-1776, Battle for Manhattan and New York: A Bicentennial History. He was director of the Society of American Historians and a member of the Authors Guild, PEN and the American Society of Journalists and Authors. Bliven died at his home in Manhattan on January 2, 2002, four weeks short of his 86th birthday.
The Writing Machine:
A History of the Typewriter
(Published hardcover by George Allen & Unwin, London, 1973)
and
Antique Typewriters:
From Creed to QWERTY
(Published hardcover by Schiffer Publishing, Atglen, Pennsylvania, 1997)
by Michael H. Adler
Michael Hugo Adler in 1996
Michael Hugo Adler was born in Prague, Czechoslovakia, on September 20, 1934, the son of a lawyer, Gerhardt Hans "Jan" Adler (1907-1973), who in 1937 counted among his clients Leon Trotsky. Jan Adler later became an industrialist in Rio de Janeiro and Buenos Aires. It is uncertain exactly when Michael Adler settled in Australia, but on a trip to Rio in 1960 he was listed as an Australian citizen. It is claimed that he grew up in this country and studied music at the Sydney Conservatorium, leaving Australia in 1956. Adler backpacked around South America before settling in Caracas, Venezuela, and working as a journalist and foreign correspondent. He covered the golpes de estado of president Marcos Evangelista Pérez Jiménez, who was deposed in a coup on January 23, 1958. Adler moved to Rome, Italy, in 1967, where his interest in collecting typewriters was sparked by finding a Frolio 7 index machine at the Porta Portese flea market - he paid 100 lira for it. In 1976 Adler and his late wife Linda Lee Adler settled in Britain. They started up an antiques store called Fernfold in January 1991. Adler, 80, now lives in East Sussex in England.
Century of the Typewriter
By Wilfred A. Beeching
(First hardcover edition published by William Heinemann, London, 1974; second softcover edition published by British Typewriter Museum Publishing, Bournemouth, 1990) 
First edition
Second edition
Wilfred Albert Beeching was born Sidney Frank Appleton in Smallburgh, Norfolk, on September 9, 1918. He changed his name by deed poll in Bournemouth in October 1941. Five years later, after serving in World War II, Wilf Beeching entered the typewriter trade as a manufacturers' agent with an office machine shop in Bournemouth. The business must have been good, for in less than 30 years Beeching had accumulated a collection of some 350 rare early typewriters. In late September 1974 he opened his version of the British Typewriter Museum at 137 Stewart Road, Bournemouth. Unfortunately, in 1978, the site was closed by the land owner in order to build a car park and Beeching presented his collection to the Bournemouth Borough Council. The collection was insured by the borough through the Bournemouth Museums Service and the borough bought the museum's souvenir shop stock and all rights to the museum brand name for £1500. The museum was moved within the Rothesay Museum at 8 Bath Road and reopened as "a museum within a museum" on October 23, 1978. Beeching became an "honorary keeper" as part of the arrangements. The museum remained in operation until the demolition of the Rothesay Museum in 1985. Beeching was outraged and asked to take the collection back. The collection was split up, with some of it going to the Science Museum in London and other typewriters being sold to private collectors, including Uwe Breker. Beeching died in Bournemouth in July 2000, aged 81.
The Typewriter Legend
by Donald S. Sutherland
edited by Frank T. Masi
(Published by Matsushita Electric Corporation of America, Secucus, New Jersey, 1985)
Donald S.Sutherland in 2000
Donald Scott Sutherland was born in Harlem on January 21, 1944. He graduated from the Manhattan High School of Music and Art. His love for photography and writing was cultivated while working summers during high school writing text for the Montgomery Ward catalogue and later landing a job in a Manhattan camera store after graduation. His affinity with photography and dexterity with a camera would land him the role of the “Bolex Man”, as spokesperson and model in the Swiss company's print ad campaigns. Sutherland was a contributing photojournalist for Popular Photography for more than 20 years and contributing writer for Photo Trade News, covering national and international camera and electronics trade shows. He moved from Manhattan to his beloved Stapleton, Staten Island, in 1974, and to New Brighton in 2009. At one time he was editor-in-chief of the North Shore Press, a Staten Island publication. In a career of more than 40 years, ending with Marine News, his work was published in Playboy, Newsweek and many other publications. His 1978 cover article in New York Magazine was instrumental in the revitalisation of interest for historically significant homes on Staten Island. During the last 10 years of his life he chronicled and photographed tugboats and the workboat industry throughout the United States. His expertise with film and digital photography earned him freelance positions evaluating and critiquing new cameras and lenses for all of the major camera manufacturers.
Sutherland was one of those people who knew the precise moment his passion for collecting typewriters started. It was on December 8, 1968, when he went looking for a ribbon retaining screw for a L.C. Smith 8 that a friend had given Sutherland for helping him move. Sutherland chanced upon a typewriter repair shop called the All Language Typewriter Company. He found there for $25 a Hammond Multiplex with reversible carriage and open frame, spending his grocery money on the machine. It was, he said, "the beginning of the end". "I wanted to rescue all the fascinating gizmos I could find!" Of the 750 typewriters he did find, he was "most partial" to a Wagner-Underwood experimental model and a W.J. Hull, and his favourite was a Caligraph 1. Other interesting machines he owned were a Cash Typograph, Kanzler, 1888 Rapid, Manhattan, Yost 1, Brooks and Bar-Lock.
Sutherland once bought two machines from one man on the one day - a Ford for $75 and a Sholes & Glidden for $125. The "one that got away" was a Junior (Bennett) labelled a Paragon that he found but didn't buy in Hoboken. As far back as September 2000, Sutherland made very accurate predictions about the impact of eBay on skyrocketing prices for typewriters, including the Olivetti Valentine. 
As well as typewriters, Sutherland, in his final years a photojournalist for Marine News, collected magic lanterns, cameras and business machines. Sutherland died of cancer, aged 66, at his home in New Brighton, on May 24, 2010.
*I am indebted to Richard Polt for pointing out in a comment on this post that Sutherland wrote the text for this book, which I'd forgotten.
Frank T.Masi was born on March 31, 1939. In 1972 he was vice-president of marketing for Cascade Data Inc in Grand Rapids, Michigan. In 1977 he left there to work for the Royal Typewriter Company in Hartford, Connecticut, in 1979 moving to Adler Royal Business Machines, of which he became president. At the time of editing this book for Panasonic, he was manager of the Panasonic Electronic Typewriter Division and general manager of the company's office automation branch. He remained with Panasonic until July 1987. Masi, now approaching 76, is president of the Masi Group in Orlando, Florida, which he founded in February 1989.
American Typewriters: A Collector's Encyclopedia
by Paul Lippman
 (Published hardcover 1992 by Original & Copy, Hoboken, New Jersey)
Paul Lippman, third from left, in Kansas City in 1991 with fellow collector-historians, from left, Darryl Rehr, Jay Respler, Jim Rauen and Uwe Breker.
Paul F. Lippman was born in Manhattan on June 24, 1928, the only child of a pharmacist of Russian descent. His father, Joseph, served overseas in World War I and was drafted again in World War II. It seems that immediately after the war, the family moved to California, where Paul attended schools in Berkeley and Oakland. But he was certainly back in New York in the early 1960s, when he was a copywriter for the award-winning advertising firm J. M. Mathes Inc in Greenwich Village. That's when he started collecting typewriters, beginning with a Corona 3. He was a pioneer among American typewriter collectors and, by running classified adverts in Hobbies Magazine, soon amassed a large and very impressive number of rare vintage machines. Among those he found was a Blickensderfer Electric, which Wilf Beeching twisted his arm to sell. He was also invited to look over some surplus machines for sale in the basement of the Milwaukee Public Museum (the Dietz Collection!). By the late 1980s, however, his health had begun to deteriorate after he had suffered a stroke, and he began to sell off his collection. He kept one machine, a decorated Sholes & Glidden. Lippman rescued the British journal Type-Writer Times when English collectors could not find an editor in their own country. As a result, the British group was renamed “Anglo-American”. Lippman also edited The Type Writer, a successor publication to Type-Writer Times. Lippman died of neurological problems in a New York hospital on April 3, 1995, aged just 66.
Antique Typewriters
& Office Collectibles
by Darryl Rehr
(Published softcover by Collector Books, Paducah, Kentucky, 1997)
Darryl Charles Rehr was born in California on July 31, 1950. In the 1970s, as a journalist, he bought himself a 1911 Royal No 5 and a 1908 Remington No 10 - not as collectibles, but to use. In 1984 he started collecting typewriters. He also began to write about typewriters, his first article appearing in Antiques and Collectables in 1986. He also wrote for Popular Mechanics, The Pittsburgh Press, Antique Trader Weekly, Pennsylvania Magazine, The Office Magazine, Business Electronics Dealer and Spokesman (National Office Machine Dealers' Association). In 1987 Rehr was one of the founders of the Early Typewriter Collectors' Association and was the founding editor of ETCetera. He edited the first 49 editions, from October 1987 to December 1999 (Nos 1 to 49).
From 2000 Rehr has concentrated on his career in movie and television producing, directing and writing. Credits include the TV documentary series The Universe, Life After People, Prehistoric Predators,  Secret Missions of the Civil War, History's Mysteries and Tales of the Gun
Mechanical Typewriters:
Their History, Value and Legacy
by Thomas A. Russo
(Published by Schiffer Publishing, Atglen, Pennsylvania, 2002)
Thomas Anthony Russo was born on July 26, 1932, in Kansas City. He graduated from the Wentworth Military Academy in Lexington, Missouri, and attended Rockhurst College for two years and then enlisted in the US Navy in 1953. Russo served aboard the USS Midway and was honourably discharged in 1954.
Russo went to work for Remington Rand in 1954 and after five promotions during a 17-year period, he resigned in 1971 and started his own business, which became DEO Technologies, in Wilmington, Delaware, retiring in 1997. Now living in Garnet Valley, in 2005 he established the Thomas A. Russo Museum of Business History and Technology, a museum devoted solely to the evolution of business technology through the centuries, 3000 items showing the history of everything from primitive counting and adding devices to cash registers. Russo, 82, who also served as president of the 5000-member National Office Machine Dealers' Association, became a self-taught historian through collecting, and ended up the author of three books. The Russo collection, which includes James Watts' 1795 version of a copier and Thomas deColmar's vintage 1820 calculator prototype, also features magnificent cash registers, many elaborately adorned, as well as adding and billing machines, paging and calling systems, early postage meters, and photocopying devices.

Can Google REALLY Be This Stupid?

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On January 9 last I lost the plot and flew into a rage after finding some scumbag in India had plagiarised at least 500 of my blog posts. If I understood Scott Kernaghan correctly at the time, these illegally lifted posts are being used as some "click through" device to raise revenue for a thing called Harry Yadav. Richard Polt, as always, managed to calm me down and I complained to Google that day, even before Scott had sent instructions on how to do so.
OK, that was on January 9. Yesterday, more than a month later, I got this reply from "The Google Team" (Note the capital letters on The and Team - like the A-Team, except this lot are the S-Team):
Hello,
Thanks for reaching out to us.
It is unclear to us what the specific copyrighted work or works are that you are asserting have been infringed. Could you please provide more detail by identifying the work or a representative list of works? It would be helpful if you could provide us with a link to the original source of the copyrighted work. Once we understand better what your contentions are, we'll be able to further investigate the issue and take the appropriate actions.
Regards,
The Google Team

It is unclear to us what the specific copyrighted work or works are that you are asserting have been infringed!!!

What the ... !!! 500 blog posts and it's not clear to these idiots!
They don't understand my contentions???
What's there to get?

So what am I to do? Identify more than 500 individual blog posts? Is it worth the effort? It strikes me, as I was warned, that Google don't really give a stuff, don't want to make an effort to stop this illegal activity and would prefer to brush it under the Google carpet by being difficult.

What a pack of clowns!



What Happens When There Are No Photographs of Typewriters

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"Active as a young panther": Australian war correspondent Philip Schuler watches the movement of Allied ships in Mudros Harbour from Mount Elias on Lemnos, 1915.
On the shores of Gallipoli in August 1915, Philip 'Peter' Schuler was too busy dodging bullets and taking photographs to organise a shot of himself at a typewriter. And his mate, Charles Bean, flat strap recording the gruesome birth of an Australian nation, had no time to be snapped at his Corona 3 either. For all the same reasons, Ellis Ashmead-Bartlett was never pictured using his Empire. There may be no surviving visual evidence of these three typing at Gallipoli, but type there they did.
What does survive as evidence they used typewriters: Ellis Ashmead-Bartlett's typed if heavily censored, 209-remaining-words telegraphed report to the Daily Telegraph in London, sent on September 3, 1915, at a cost of a princely £20.
A shot from the upcoming TV series Deadline Gallipoli, showing Hugh Dancy as Ellis Bartlett-Ashmead typing a report on his Empire at Gallipoli.
Schuler did take some brilliant photographs in those trying circumstances; ultimately, however, he was not so good at dodging the shrapnel from shell fire. He survived Gallipoli, enlisted for the Western Front, but died of wounds in an army hospital at Steenwerck on June 23 1917, cut down at Armentières near the front at Messines Ridge. Schuler was just 27. Yet, according to Bean, he had already shaped as one of the greatest war correspondents of them all. Bean wrote this moving tribute:
Coming as it did from the ever reliable typewriter of Bean, this glowing homage to Schuler appeared in newspapers across the land. Only the headline changed:
"Pen-men in arms" was a nice, succinct 24-point line from the night sub-editor at the Beulah Standard and Mallee and Wimmera Advertiser, short enough to fit neatly into the single column space allocated to the story. But Bean and Schuler were friends, not rivals, though "Typists in arms" might not have had the same ring. Still, it was on Corona 3 portable typewriters that Bean and Schuler wrote many of the most enduring words of World War I, the most brutally accurate and honest descriptions of the horrors of Gallipoli. Australia in Arms, the book Schuler typed between returning from Turkey and enlisting for France and Belgium, remains a classic of the genre. Least I be accused of exaggeration, read it here.
Looks like a typewriter case to me. Philip Schuler, left, arrives in Egypt in 1915
As Bean pointed out in his panegyric, Schuler had faced the severe added disadvantage of having to type his stories and mail them through Egypt, rather than having access to the Eastern Telegraph Company service in Alexandria, at a steep 10 pence a word. Ashmead-Bartlett had the open pockets of the Telegraph to cover such costs, Bean the backing of being official war correspondent for the Australian Associated Press. Schuler had been sent late by his editor father at The Age in Melbourne - in a show, perhaps, that the name Gottlieb Frederick Heinrich Schuler and a Heimerdingen birth didn't reflect the leanings his antagonists claimed. Young Schuler wasn't able to share the accreditations and the connections that had opened doors for Ashmead-Bartlett and Bean. Instead, he had had to leave a lasting favourable impression on Mediterranean Expeditionary Force commander Ian Hamilton to even get himself ashore at Gallipoli. 
In the face of these odds, Schuler filed, as Bean said, "fuller and truer" typed dispatches than the official accounts. Oddly enough, however, it wasn't what Schuler typed and mailed that archivists in Australia were so desperate to get their hands on during the war. It was what the Englishman, Ashmead-Bartlett, had typed about Gallipoli.
This is a letter written by William Herbert Ifould (1877-1969), principal librarian of the Mitchell Library in Sydney, while the war still raged. Among documents purchased from Ashmead-Bartlett by the library were his war diary, below, censored dispatches and a carbon copy of his original, damning letter to British Prime Minister Herbert Henry Asquith, the one which exposed the disaster that had been Gallipoli.
Schuler, Bean and Ashmead-Bartlett will be the main characters portrayed in the TV series Deadline Gallipoli, due to be screened in April. Last year the production team asked me what typewriter Schuler had used at Gallipoli. Without any photographic evidence, they were stymied. That's the way it is these days with propmasters. They lack a certain knowledge, or imagination, or a combination of both. Propping for a movie? Just go to Google Images, copy and paste. Thanks to Schuler, and World War I photographers like him, war scenes, uniforms and outfits, backpacks and armaments - even the features of the people themselves - can be made to appear quite close to the reality. But without war photos, there's a problem. I've just bought two World War  I picture books, one of images at Gallipoli, the other from the Western Front. There's not a typewriter anywhere to be seen in either of them*. Another book cashing in on the centenary of Gallipoli - 100 Objects from World War I - doesn't rate the typewriter worthy of a mention. Without the typewriter, what war correspondents like Schuler, Bean, Ashmead-Bartlett and Keith Murdoch exposed about the massacre at Gallipoli would have remained completely unknown to Australians. But without photographs of these men at typewriters, typewriters don't figure in books such as these. Or, more often than not, in movies and TV series made about Gallipoli.
The latest of these, imaginatively called Gallipoli, opened on Australian TV screens last weekend. It is based on Les Carlyon's award-winning 2002 book, also titled just Gallipoli, which in turn was largely inspired by Schuler's 1916 work Australia in Arms. Carlyon, himself a former editor of The Age, felt guided toward Schuler's descriptions of Gallipoli because he was "a much better writer from a newspaper point of view than Bean, who was often very stodgy."
Sadly, the early evidence is that Christopher Lee's script for this TV series doesn't do Carlyon or Schuler any justice at all. Last year's two World War I centenary TV series, ANZAC Girls and The War That Changed Us, were both, in their own ways, quite insightful - the first about the life of nurses in places like Lemnos, the second for its emphasis on opposition at home to Australia's involvement in the war. Gallipoli is shaping as being much more predictable and heavy-handed. Episode one showed a scene aboard the HMS Queen Elizabeth in the Dardanelles on the evening of the April 25, 1915, landings - British military officers in full, glorious braid in a beautifully-appointed dining hall being served a sumptuous three-course dinner with fine wine by white-gloved, tuxedoed servants. Cut to next scene: muddied, bloodied Australian soldiers biting the dirty Turkish dust while having the shit shot out of them on the ridges of Gallipoli. Subtle, no? Poms as pompous prigs, Aussies as hero pigs to the slaughter. Git it?
James Callis, centre, as Ashmead-Bartlett in Gallipoli
Fancy Hugh Dancy, left, as an even more dandy Ashmead-Bartlett in Deadline Gallipoli. I don't think the Real McCoy (below) had a moustache.
But back to typewriters. Episode one had Bean arriving ashore carrying what looked suspiciously like a typewriter case, but quickly disappearing. Ashmead-Bartlett followed, empty-handed. He gets a handwritten letter from Field Marshal Bill Birdwood, suggesting the immediate evacuation of the ANZACs, to Hamilton, who eventually dictates a reply along the lines of, "Dig in and die". This soon materialises as a typewritten missive. Sorry, I must have blinked and missed the typewriter!
Is that a typewriter, or are you just pleased to see me? Nicole Kidman as Gertrude Bell in the upcoming movie Queen of the Desert (no, not Priscilla)
My point about "no photographs of people at typewriters, no typewriters in the movie" is further emphasised by a new Nicole Kidman film, set in the period just after World War I. In the Werner Herzog production Queen of the Desert, in which Kidman plays the remarkable Gertrude Bell, there doesn't appear to be a single typewriter. And sure enough, there isn't a single image available online of Bell at a typewriter.
And yet ... this was a woman who so frequently and so fervently hammered away at typewriters that she wore them out! Bell once wrote to her mother, "I am to have a second typewriter - mine is dying of exhaustion." 
"Dearest Mother. This is the Russian
pilgrim paper - there is a regular
commerce apart from all others here
to supply the Russian pilgrims with
relics, souvenirs and the necessities
of Russian peasant life.
I bless the typewriter.
It is such a joy to open an envelope
of yours and find long sheets
from the typewriter.
He does write such nice letters.
I hope he has accompanied you on your travels.'
- written by Bell from Jerusalem on February 18, 1900
To give an idea of Bell's typewriter use, on July 6, 1917, she typed: "I've been very unsociable this week for I've been writing - I have written my five articles on Turkey after dinner. I can't well get the time by day for these things in the press of other work. I've been arranging and getting out the mass of tribal stuff collected since I've been here and have now got all the tribes to the [north] and [north-east] alphabetically tabled and beautifully typed in many copies for members and all generals with whom I'm friends."
Bell, by the way, lost a lover at Gallipoli.
 Bell with Lawrence
 Kidman as Bell with Robert Pattinson as Lawrence
 Above, Kidman on camel. Below, Bell with Winston Churchill and Lawrence on camels.
She was an English spy, archaeologist and traveller, administrator, adventurer and explorer, writer, cartographer and political officer. All of which means Gertrude Margaret Lowthian Bell (1868-1926) has been described as the female Lawrence of Arabia. Bell indeed knew T.E. Lawrence very well. Kidman says Bell "basically defined the borders between Iraq and Jordan that exist today, borders that she negotiated between Churchill and different Arab leaders. She went out to the desert with the Bedouin and all the different tribes that were feuding at the turn of the 19th century." Bell travelled extensively in Greater Syria, Mesopotamia, Asia Minor and Arabia. 
One day they might make a movie about Australia's Desert Queen - not Priscilla, but Dame Daisy Bates. It was Bates who in 1912 moved to South Australia, pitching a tent at Ooldea, on the edge of the remote and arid Nullarbor (Latin for "no trees") Plain. For the next 16 years Bates lived in that spot, with only an Empire typewriter for company.
But wait ... there's no photograph of Bates at a typewriter.
Ah ... forget it!
*Admittedly, Peter Weil's Ephemera column in the soon-to-be-issued edition of ETCetera features many typewriters in military situations.

Vaver's and Pacific Typewriter Companies

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While helping a New Zealand collector identify his Remington-Rand EJ standard typewriter today, I chanced upon the connection between Vaver's Typewriter Company in Auckland, New Zealand, and the Pacific Typewriter Company in Melbourne, Australia.
Pacific is well known among typewriter collectors in Australia for importing Consul portables from Czechoslovakia and Maritsas from Bulgaria and rebranding them as Pacific, WaverleyLemair, Norwood and Majestic typewriters. The Glasgow-made EJ was originally sold in 1953 by Remington-Rand Business Machines (New Zealand) Ltd (now Unisys) in Wellington and later refurbished by Vaver's in Auckland.
Pacific and Vaver's were established by the same man, Josef Ladislav "Joe" Vaver (Hebrew name Yosef Ben Avraham David). Vaver was born in Czechoslovakia on April 6, 1921.
He immigrated to New Zealand from Europe in August 1950, leaving with his wife Pola and young son (also Ladislav, but known as David) from Bremerhaven in Germany and sailing to Auckland via Fremantle in Western Australia. Vaver was able to get into New Zealand - where policies on the post-war immigration of Europeans were far more restrictive than they were in Australia - because he could claim to have specialist skills as a typewriter technician. He had started his apprenticeship in Czechoslovakia immediately after World War II, aged 25. Vaver, his wife and David became naturalised New Zealanders in 1957 and after working for some years as a typewriter mechanic in Onehunga and Remuera in Auckland, Vaver set up his own business, Typewriter Repairs Ltd, in 1964. In 1969 he changed the name of the company to Vaver's Typewriters. In 1972, after Vaver had left New Zealand for Australia, it became the Aorangi Typewriter Company and in 1993 Leckie and Laterveer Ltd. Son David (who Joe claimed could type at 120 words a minute at age 12 in 1958) remained in Auckland, where he was a professor of law.
Pola Vaver at an Adler
Vaver founded Pacific Typewriters in Melbourne, operating from Swanson Street in the city and initially selling mostly rebranded Consuls and Maritas. By 1977 he was concentrating on electric typewriters, and told The Age newspaper he had designed his own golfball machine. 
He also had the Victorian agency for Smith-Corona. In October 1979 Pacific Typewriters moved to new premises on Lonsdale Street. Vaver claimed to have 86 agents in Victoria, Western Australia, Tasmaia and South Australia.
Joe's married daughter, Tania
Joe Vaver died in Melbourne on January 27, 1996, aged 74, and his wife Pola died on June 15, 2003, aged 81. Pacific and Vaver's typewriter companies continue to be listed, the latter in Queensland.
David Vaver
Their son David Vaver is an emeritus fellow of St Peter's College, Oxford University, and a former director of the Oxford Intellectual Property Research Centre. He was a member of the United Kingdom Intellectual Property Advisory Committee and chaired Oxford's IP Advisory Group until he retired at the end of 2007. Before coming to Oxford, he taught for some 20 years in British Columbia and Osgoode Hall Law School, Toronto, and before that at the University of Auckland. Professor Vaver has written extensively in intellectual property law. Professor Vaver's post was established and funded until 2004 by the Reuters Foundation, the educational and charitable trust established by the leading international media and financial information group, Reuters. 

A Happy Typewriting Valentine's Day 2015

Seeking Shicken Boogiewonderland, on Valentine's Day

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On the eve of Valentine's Day, a homeless man in Columbus, Georgia, broke into a funeral home, had himself some crazy love and made off on a stolen bike. Goodbye, Columbus! Oddly enough, this disturbing news item did little more than remind me of my introduction to a previously unknown Australian language, upon reading for the first time Barry Humphries and Nick Garland's comic strip Barry McKenzie in Private Eye in London in the early 70s. Even McKenzie was disconcerted to find himself working for an undertaker who "featured with the stiffs". Indeed, Garland point blank refused to illustrate the scene. I was even more innocent. I'd never heard of the word necrophilia. 
Barry's efforts were shown to be appreciated by Tony Abbott 45 years later, when the intruding Duke was knighted.
Lifeless love is now everywhere. It could never have happened in the time of typewriters, since a typed and carbon-copied love letter would have looked far too obvious. But in this computer age, the weeks leading to and embracing Valentine's Day mark desperate times for many. In Cincinnati, Ohio Attorney-General Mike DeWine felt it necessary to warn against a spike in online lonely hearts club scamming. He said 90 people had been cheated out of hundreds of thousands of dollars and seven of those people lived in the Greater Cincinnati area. It had seemed an eminently sensible city to me, but apparently, on average, scammers fleeced more than $22,000 from Cincinnatians they'd never met. “We have one woman in the Cincinnati area that lost $40,000,” DeWine said.
Ohioans still appear, on the whole, to be a lot smarter than Australians. Here, $40,000 would be considered chickenfeed for a Nigerian scammer. Dating and romance scams cost Australians a record $28 million last year. The consumer watchdog warned the online dating community about scammers preying on vulnerable people, particularly at Valentines Day, after more than 1000 victims reported being swindled in 2014. The Australian Competition and Consumer Commission said $75,000 a day was lost to romance scams. "We know these figures are only the tip of the iceberg, as many victims are reluctant to admit to friends, family or authorities that they fell for a scam," ACCC deputy chair Delia Rickard said. 
And one needs not be wary of just scammers at this time of year, but chocolate makers too. In Tokyo, a group of 10 Kakuhido members marched through the Shibuya district, chanting “Don’t be duped by the conspiracy of chocolate makers!” and waving banners in protest against the “passion-based capitalism” of Valentine's Day. They want its celebration barred. Kahuhido translates as the Revolutionary Alliance of Men that Women find Unattractive. It claims on its website that “public smooching is terrorism”.
Crazy Love, by the way, is the title of a 1987 movie from Belgian director Dominique Deruddere based on writings by Charles Bukowski, in particular The Copulating Mermaid of Venice, California. Bukowski, who died a month after Valentine's Day in 1994, would comfortably have qualified to become a member of any group, at any time anywhere, called the Revolutionary Alliance of Men that Women find Unattractive. And I say that as a fellow qualifee. But I have two good friends who have boosted the economies of Russia and Thailand to the tune of more than $20,000 each, without gaining so much as a Russian or a Thai wife, and I must say such utter stupidity leaves me speechless. But who am I to judge?
Some of the aforesaid, it must be admitted, I have gathered online, running the gauntlet of being scammed myself. Until two years ago I relied entirely for news on newspapers. I read newspapers for more than 50 years. I read them primarily to be informed by their news content, of course, but also to be entertained by their columnists. Sometimes, like an expectant lover, I felt let down. I have read the occasional sports column which has been - to the eternal shame of the author, since sport is seldom less than enthralling - dead boring. There have also been political and business columns which have sent me to sleep more quickly than counting sheep, and entertainment columns which have done anything but entertain.
This last crime is the one the late Maurice Carr, my all-time favourite Australian newspaper columnist, would have found the least forgivable. “Never try to educate anyone,” he once advised a budding columnist. “That’s not your role. If a column  does not entertain its reader, it is without purpose and is simply wasting space.”
Carr, to his credit, was endlessly entertaining and never wasted a line, let alone a column. For my own part, some years ago I  suggested to a young journalist that the material for a decent column could be found simply by wandering into a second-hand book shop and picking up any book. Somewhere between the covers there would be something that would provide the germ of an idea for a half-good read.  It worked for me. Indeed, most things I read sooner or later offer up ideas. Like Barry McKenzie (even today, as on The Times Literary Supplement website), or Charles Bukowski, or even the New York Post.
One type of print column which never failed to entertain me was the lonely hearts column. I don’t wish to give the impression I am some sort of voyeur, taking pleasure from the private lives of others. But it strikes me that, after a certain while, people who regularly and bravely venture into the world of the lonely hearts column do so with a somewhat thickened skin and a heightened sense of self-deprecating humour. It’s as if they feel the need to laugh at themselves in order to deal with the bouquets and brickbats that are inevitably going to come their way in this realm of the heart. They mock themselves to pre-empt or fortify themselves against the mockery of others.
This impression was confirmed, after a fashion, by someone who was a committed lonely hearts column contributor. The lady in question used to be an avid reader and writer to the “Make a Date” column in The Chronicle, part of The Canberra Times stable. Sadly, “Make a Date” no longer appears, pushed into irrelevance, presumably, by online services such as RSVP and match.com. My friend was able to explain the codes of the column, the fun she had had from her experiences in this domain, but also some of the heartbreaks she had encountered. On balance, life as a lonely heart seemed broadly positive. And that had much to do with attitude.
“Make a Date” has long gone, but the personals in the classified advertising section of The London Review of Books adequately filled the gap in providing me with consistently entertaining reading. As one might expect of a publication in which books are reviewed, the lonely hearts column in the LRB was (and remains) unusually literate for such matters. The issue marking the LRB’s 30th anniversary maintained the exceedingly high standards.
Not surprisingly, the notices were adjacent to  larger advertisements which sought “deeper understanding” of the minds that write to lonely hearts columns. One was from Alice, a BBC researcher - I can still see a series making its way to TV screens sometime soon. Another was from the LRB itself. It was “morbidly curious”, it said, "about successes, failures, disappointments, limps, lisps, poor bladder control etc. The bar isn’t set especially high.”
The notices themselves included,  “I hate bad dreams, especially the ones with the giant tennis players. Do you have bad dreams? Do they have giant tennis players? My sympathies.” “Having an average score of 6.8 on the Slavoj Zizek scale of sexual magnetism [still regarded as the most accurate measure of human attractiveness], I have never had to place a personal ad. However, if I were to write one it would reference the colour green, a refusal to acknowledge the existence of gravity, and a firm belief in the theory that cuddling can solve all arguments except ones about carpets.”
In a similar vein: “When I was married, Saturday night was our date night. More often than not it became ‘complain about the macrobiotic diet the doctor has me on’ night … What I’d really like it to be is ‘play Scrabble then snuggle’ night.”
Some seemed to make few demands. “I enjoy a neatly ironed trouser and women who carry the scent of spicy chorizo. Simple man, simple tastes.”  “Women to 55 who enjoy cabbage will get along just fine with me!” Or, “Many people carry scars from previous relationships. Not me: mine come from Chinese buffets.”
The last word should have gone to the man, 57, who wrote, “Some may call this advert boring. I call it erotic art.” Or maybe to “mid-50s F”: “This is not a love song. Well, maybe it is … interested and interesting, disposed to happiness, not adverse to adventure, seeks similar.” The romantic in me wanted all the authors of these cryptic contributions to appear in a BBC documentary talking about living happily ever after. The realist expected a lower success rate, especially for cabbage lovers.
The LRB now runs some of these ads online, warning "We advise respondents to take due precautions when answering personal ads." The ads range from a mild "Attractive midlife couple seeks couple or woman for shared adventuring" to "Smart, funny, sexy, sophisticated, artistic lady in her prime. Seeks soulmate" to "Ambassador's daughter, writer, widow, slim, blonde with homes in London, NYC and Palm Beach seeks male companion 65-75, prefer retired British/Irish MD" and "Lively oldie, into red wine/garlic/Radio3/ seeks companion and occasional lover. Bucks." (That is, as in short for Buckinghamshire, least someone gets an urge to respond). 
I was not alone in being fascinated by this LRB column. In 2009, The Guardian ran an item under the heading "Lonely hearts club band" - "Despite the lofty reputation of the London Review of Books, its classified ads are often hilarious." Contributing editor David Rose picked his favourites:
"I celebrated my 40th birthday last week by cataloguing my collection of bird feeders. Next year I'm hoping for sexual intercourse. And a cake."
"If intense, post-fight sex scares you, I'm not the woman for you (amateur big-boned cage wrestler, 62)."
"Possibly the last person you want to be stood next to at a house-party you've been dragged along to by a friend who wants to get off with the flatmate of the guy whose birthday it is."
"Meet the new face of indoor bowling! More or less the same as the old face, but less facial hair and better teeth."
"Mentally, I'm a size eight. Compulsive-eating F, 52."
"[Seeks] man to 25 for whom the phrase 'beauty is only skin-deep' is both a lifestyle choice and a religious ethos."
"I vacillate wildly between a number of archetypes including, but not limited to, Muriel Spark witticism-trading doyenne, Mariella Frostrup charismatic socialite, brooding, intense Marianne Faithful visionary, and kleptomaniac Germaine Greer amateur upholsterer and ladies' league darts champion. Woman, 43. Everything I just said was a lie. Apart from the bit about darts. And kleptomania. Great tits though."
"Philanthropy is my middle name. It's just a name though so don't be expecting any free rides. You can call me Mr Wallace. My first name is none of your business."
"I have a mug that says 'World's Greatest Lover'. I think that's my referees covered. How about you?"
"If clumsy, unfeeling lust is your bag, write to the ad above. Otherwise write to me, mid-40s M with boy-next-door looks, man from U.N.C.L.E. charm, and Fresh Prince of Bel Air casual insouciance. Wikky wikky wick yo."
"All humans are 99.9% genetically identical, so don't even think of ending any potential relationship begun here with 'I just don't think we have enough in common'. Science has long since proven that I am the man for you (41, likes to be referred to as 'Wing Commander' in the bedroom)."
"Normally on the first few dates I borrow mannerisms from the more interesting people I know and very often steal phrases and anecdotes from them along with concepts and ideas from obscure yet wittily-written books. It makes me appear more attractive and personable than I actually am. With you, however, I'm going to be a belligerent old shit from the very beginning. That's because I like you and feel ready to give you honesty. Belligerent old shit."
"They call me Mr Boombastic. You can call me Monty. My real name, however, is Quentin. But only Mother uses that. And Nanny. Monty is fine, though. Anything but Peg Leg."
"All I need is the air that I breathe and to love you. And a five-door saloon (fully air-con). And minimum income of £55K per annum. And two holidays a year (Latin America plus one other of my choosing). If you can meet these requirements, apply to 'Evil Dragon Lady, Breaker of Men's Constitutions'."
"You're a brunette, 6', long legs, 25-30, intelligent, articulate and drop dead gorgeous. I, on the other hand, have the looks of Herve Villechaize and an odour of wheat. No returns and no refunds."
"The usual hyperbole infuses this ad with a whiff of playful narcissism and Falstaffian bathos. But scratch below the surface and you'll soon find that I really am the greatest man ever to have lived. Truly great man, 37. Better than Elvis and Gandhi. You'll never be a genuinely worthy partner, but try anyway by first replying to box no. 7637. Include a full list of qualifications, your aspirations, and a full frontal nude body shot."
"Google-search this: 'Inherited wealth real estate Bentley' - that's me, result 63 of 275. It'll take 0.21 seconds to find me online, but an eternity of heartache in real life. Save time now by writing to box no. 4511, or by just giving up. Mother says you'll never be good enough for me anyway. And you carry the odour of your class."
"God appeared to me in a dream last night and spoke your name in my ear. He gave me the winning lottery numbers, too, though, so you can understand where my priorities lay when I raced to grab a notebook and pen. Man, 37, living on hope seeks woman whose first name begins with S, or maybe F, and rhymes with chicken, and has a surname that's either a place in Shropshire or the title of a 1979 Earth, Wind and Fire track. Shicken Boogiewonderland, I know you're reading this."
My own favourite: "If I could be anywhere in time right now it would be 17 December 1972. I have my reasons." And I, too, have my reasons, none of which relate to Barry McKenzie.

Typewriters in the News

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The Typewriter Revolution appears to be gathering pace, evidenced by a flurry of news stories relating to typewriter use.  Here are a few:
STATEN ISLAND, NEW YORK
TYPED LOVE
On SILive.com - "Watch: The typewriter is the machine of poetry at Staten Island Museum's 'Love Fest'." Travelling poet Billimarie Robinson creates poems on the spot on Valentine's Day. Typewriters, poetry and Valentine's Day made for the perfect mix at Betty's Typewriter Love Fest in the Staten Island Museum. "Betty" is minimalist artist Betty Bressi, who died last year at the age of 96. The museum has mounted a retrospective that is up until April 8.
LONDON, ENGLAND
KEY'S JOY
In The Independent - Tim Key: "I have bought a typewriter and it is a thing of beauty and joy." I bought a typewriter last week so this week's column will be about that. And, in other news, I'm also writing it on my typewriter – though I'm sure when it comes down to it my editor will insist that I 'type it up' as a Word document; we'll exchange two or three emails about this before I will fall on my sword and do as he says and send it to him as an attachment. That's for later though; right now, I'm smashing it out on my typewriter and it is very loud and the results are a bloody mess because I'm not used to it and I'm not on top of things like capital letters, and I haven't been letting the Tipp-Ex dry enough before smacking my next letter into it. It looks horrible, but it feels great. I have always loved typewriters, so this is a dream come true. I finally own one, and am literally banging out my column on it. I got this beast from a Quaint Little Shop in east London. There were a few dotted around the emporium, and I welled up looking at them.
BROOKLYN NEW YORK
APT APPS
On Bustle. "5 Typewriters (And Typewriter-ish Apps) That Are Fit For 21st Century Writers To Compose Their Masterpieces On" by Lindsay Harrison. "Ray Bradbury once said, 'the great fun in my life has been getting up every morning and rushing to the typewriter because some new idea has hit me'. And he wasn’t exaggerating. Bradbury wrote the first draft of Fahrenheit 451 on a rented typewriter in the basement of the UCLA library. He paid 10 cents for every 30 minutes of typing time, which took him nine days, or $9.80 in dimes. Less than 10 bucks to go down in literary history? Sign me up, please."
BERMAGUI, AUSTRALIA
BIRDS IN KEY
On the ABC. "A typewriter and a canary: a celebration of writing and music" by Bill Brown. The sound of Neilma Sidney's typewriter made her canaries sing. Writing and music will be celebrated at Four Winds: Four Writers, at which Ms Sidney will be joined by Nicholas Jose, Hannie Rayson and Rodney Hall. Ms Sidney is better known as Neilma Gantner, a founder of Four Winds, a festival held every two years on an outdoor stage in a spectacular bush amphitheatre near a beach south of Bermagui on the New South Wales south coast - a venue described as nature's concert hall.
BEND, OREGON
DING BACK
In the News Tribune, Tacoma, Washington. "Typewriter exhibit in Bend features art, story writing" by David Jasper. Long before the advent of tablets, laptops and, heck, fax machines, the sound of clacking typewriters, with their telltale DINGs and whooshing carriage returns, filled offices across the land. Not so much anymore. However, the nearly obsolete machines are getting some love - and a chance to make some old-school racket - this month at Atelier 6000 Printmaking Studio and Gallery in the Old Mill District of Bend. Manual typewriters including Underwoods, Smith-Coronas and Remingtons were on display when 'The Typewriter Returns!' - see what they did there? - opened during First Friday Gallery Walk.
MICRONESIA, WESTERN PACIFIC
LOST YOUTH
In Marianas Variety: "Damn the typewriters" by Zaldy Dandan. The great actor Tom Hanks likes typewriters so much that he has lent his name to an app, Hanx Writer, which is for those 'who are nostalgic for the clickety-clack of keystrokes and ‘ding!’ of the carriage return…' My first reaction was, WDP?! (I’m Filipino.) It was like hearing someone gush about the long-forgotten thrill of surgery before the invention of anaesthesia. I’ve been making a living as a writer for close to a quarter of a century now, and in college, it seemed like I had to write an essay or a term paper every day, but the only thing I disliked about the writing process was the typewriter."
FREDERICKSBURG, VIRGINIA
COMEBACK
See here on fredericksburg.com - "Typewriters are making a comeback with millennials". By Lindley Estest. There’s a new demand for old typewriters. Ronnie Stevenson, the area’s only typewriter repairman, works on a machine at his office in Goldvein on Friday. Without typing and proper repair being taught, people forget to oil the more than 2000 moving parts. He also has to replace ribbons or make his own out of calculator ribbons. Ronnie Stevenson owns 62 typewriters. That’s about 3,100 keys, 124 ribbon spools and roughly 1612 typebars. Stevenson is the last typewriter repairman left in the Fredericksburg region. Most of the machines he has are used for scrap parts. But there are two typewriters he won’t dismantle or sell for any price: a Royal carried by a doctor on the battlefields of World War II and a 1951 Hermes Baby that’s as rare as it is compact. There’s something about the manual typewriter that hearkens back to a simpler time, he said. And young people agree with him."
MADISON, WISCONSIN
GEM OR JUNK
On WMTV. "Junk or Gem: Vintage Typewriter" by Meredith Barack. Is this vintage typewriter a piece of junk, or a gem?[It] is something that many people owned decades ago, but with the invention of the computer has become obsolete. Once vital for work and school, typewriters were a staple for all households and offices, so we were curious to see if one man's vintage typewriter would be worth anything. "I brought in my grandfather's typewriter. When he was in the Army he learned how to type, in World War I. And he was a staff sergeant, so he had to type a lot of requisitions and stuff like that," explains Bill Whipple, who now owns the typewriter, "When he got back and out of service, he worked at a bank and he got this typewriter." Whipple says eventually, he took this typewriter with him to college and has had it ever since.
GUELPH, ONTARIO
ENTICING TYPER
From the Guelph Mercury. "Typewriter revival music to columnist’s fingertips" by Deirdre Healey. When I was younger and would go over to my grandparents' house for a visit, one of my favourite things to do was to sneak upstairs into my grandfather's office. I would wait until all the adults were distracted by conversation before quietly climbing the stairs and darting towards the room. Usually I was alone, but sometimes one of my siblings would catch sight of me and follow, giggling and whispering all the way. It wasn't that we weren't allowed up there. It was more that it was an office, not a playroom, so the adults thought there were more appropriate places for us to be. However, to us it was better than any playroom. There were stamps, graph paper, highlighters, sticky notes and fancy pens. But all that fun stuff wasn't nearly as enticing as my grandfather's typewriter. When you first stepped into the room, you could see it perched on top of its own small table by the window, just waiting to be played with.
PUZZLE
I have no idea why this was so, but someone took a beautiful old typewriter apart and photographed the parts. Can anyone guess what it is? Clues: It's not American, British or German, and it dates from 1911.

Celebrating 40 Years of Saturday Night Live and Typewriters 1975-2015


Army Typist=It's My Party

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It was sad to hear that Lesley Gore had died of lung cancer in Manhattan on Monday, aged 68. I so well remember Gore's biggest hit, It's My Party, when it came out in 1963. Gore as just 16 at the time. She was born in Brooklyn on May 2, 1946.
Lesley Gore on Hullabaloo in March 1965
It's My Party is an anagram for Army Typist.
Gore was never in the army and she was not a typist. But the woman who recorded the demo of It's My Party was a typist. 
She was Barbara Jean English (above, 1946-). It's My Party was written in 1962 by John Gluck, Wally Gold and Herb Weiner, who were staff writers at Aaron Schroeder Music. English was a girl group veteran (The Clickettes, The Fashions) who was then working as both a receptionist-typist and, with Jimmy Radcliffe, serving as Shroeder's in-house demo singer. Radcliffe produced the demo and according to English "tried to persuade Musicor [the label owned by Schroeder] to release it as a record, or to take me into a master studio and redo it, but they weren't interested."
The first real recording of the song was by England's Helen Shapiro in Nashville in February 1963. Shapiro had heard English's demo in London. But the track was not chosen as an advance single from her album and by the time the album was released in October Gore's version had long since been a hit.
The Clickettes in 1959, with Barbara Jean English bottom left.
Gore heard English's demo when her producer Quincy Jones brought 200 discs for her to review in the den of her family home in February 1963. It proved to be the only demo Gore and Jones found agreeable. Gore recorded It's My Party in Manhattan on March 30.
ARMY TYPISTS
Meanwhile, further south, Cuban rebel army typists in 1959

The Astoria Dunera Typewriter Mystery Deepens

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Geoff Winter, who donated his late father's Astoria portable typewriter (SIM line) to the Australian Typewriter Museum, has written an interesting article about the Astoria for the latest edition of the Dunera News, a publication for surviving former refugees from Nazi and Fascist persecution, and their relatives and friends. These particular refugees were mistakenly shipped to Australia in the Dunera and interned at Hay in New South Wales and Tatura in Victoria, many later serving with the Allied Forces in World War II.
Geoff's story is headed "The Typewriter Mystery". It begins:
"My father, Ernst Winter, was interned at Huyton (near Liverpool) in Britain before boarding the Dunera on July 10, 1940, without many possessions, or so it seemed! He, like many of the internees, had their personal possessions confiscated. In his case, a gold watch, presumably stolen by the guards, and a suitcase of clothes which was thrown overboard. He never mentioned anything else, but we were told that sets of crockery we had in our family home were the only 'compensation' for his losses and persecution.
"In 2012, I went to see the exhibition A to Z: Robert Messenger’s Typewriters at the Canberra Museum and Gallery. A senior journalist with The Canberra Times, Robert Messenger is an avid collector of typewriters and had a collection of more than 1000 different models. There was a selection of 100 typewriters which he had been invited to put on display at CMAG. It was a very interesting exhibition, and it made me remember that I had the old family typewriter in storage, as modern technology had made it obsolete.
"My father had used it frequently, as he could not write clearly for an extended period of time. He had from birth a withered right arm and webbed fingers on his
right hand and consequently had to adapt from being a natural right-hander to being left-handed.
"However, my father never mentioned the origins of his typewriter (he died in 1984). So I contacted Mr Messenger and we met for a coffee at the CMAG and I brought with me this old typewriter. He had never seen my model before – it is an Astoria, and he was very interested in it and was most delighted to receive it as a gift for his collection. He examined it carefully and identified that it was Austrian and a pre-World War II model. It had the German alphabet for keys, including the letters with umlauts.
An ad for a Società Industriale Meccanica (SIM) Patria made in Turin, from the Georg Sommeregger Collection. The machine advertised is identical to my Astoria.
"In an article about the exhibition, which Mr Messenger wrote for The Canberra Times, he mentioned our meeting and about the typewriter brought over by my father on the Dunera. Soon after the article appeared, Mr Messenger was contacted by a reader who claimed that his father was also transported here on the Dunera, and his father had mentioned that any typewriters on board must have belonged to the internees, as the staff on board did not have any typewriters (this deficiency was reported back to the authorities in England on September 12, 1940 by Captain A.R. Heighway, Australian officer in charge of the disembarkation of the Dunera internees in Australia).
"At the time, Mr Messenger did not have this reader’s full details but told me about it, and naturally I was interested in getting in contact with this man. Mr Messenger tried by various means to get this man to identify himself,  and after several months he did 'come forward'. It turned out that he is Alan Morgenroth, a member of the Dunera association living in England. Alan’s father was Kurt Morgenroth. Alan has contacted Mr Messenger recently about another typewriter owned by internees.
The Hay Internment Camp
"Reinhold Eckfeld, a Dunera Boy who lives in Melbourne, was one of my father’s hutmates in Hay (Camp 8, Hut 29) and remained close friends. Reinhold claims he didn’t see any typewriters in their hut. He doubts that my father ever had it there as he would have had to carry the typewriter with him on to the Dunera (secretly?) and keep it in their hut. As my father had written letters using this typewriter while in Hay (I have his carbon copies), and he was secretary of the camp school in Hay, Reinhold suggests that maybe one of the guards lent it to him for use in one of the guard posts or 'offices'.
"But how would it have ended up in my father’s possession?And given that he had had this typewriter in England, before boarding the Dunera, maybe he did have it on board. And the typewriter being useful to the orderlies, it was not confiscated but kept by them in their office. All a bit of a mystery!
"My father was not physically abused on board, as so many Dunera Boys were, perhaps because he provided this very useful item to the staff. We would be most interested if any readers have any further information about this mystery typewriter."
Geoff overlooked to stress three vital points here. First, his father had escaped from Vienna to England in 1939. Second, inside the case of the Astoria is firm evidence that it was bought in Austria. Third, Geoff has in his possession a letter dated November 14, 1939, which proves the typewriter was shipped to him in England from Vienna.
There is absolutely NO possibility whatsoever that SIM line typewriters such as this could have been imported into Australia and sold here before World War II - especially not from Germany, Austria or Italy. This typewriter had to have been brought to Australia by someone who bought it in Austria. I believe Geoff's last two theories, about why the typewriter wasn't confiscated and why his father wasn't physically abused, are the most likely answers in solving this mystery.
It's uplifting to think that a typewriter saved a man, especially a refugee from the Nazis, from cruel and unjust beatings.

Wedding Typewriter

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I went to dinner at the home of my son Danny and daughter-in-law Emily this week and was delighted to see their "official" wedding photos are finally "out". Of course there were plenty of guests busily clicking away at the wedding at the Old Parliament House Rose Gardens last November, and at the reception at the Australian National University afterwards, and some great photos were taken. But I have to say the official photographer has done a fantastic job - including getting some excellent snaps of that all-important wedding typewriter!
This was by far and away the best wedding I have ever attended, and I've been to a few! The extent of Emily's flawless, meticulous organisation for her big day was absolutely extraordinary. She was obviously determined to make it an occasion that nobody would forget in a hurry, and she succeeded, handsomely. She hadn't overlooked a single thing, as far as I could tell. Both the wedding and the reception were breathtaking. Just as well I didn't forget to supply a typewriter. 
 Ian James gives the typewriter a workout.
I must also thank Marilyn James for her photos.
It was also fortunate I didn't forget to wear the Olympia typewriter tie
that Paul Robert had sent me 
 Parents of the bride and groom greeting guests
There were even typewriter-themed cupcakes
And typewriters for place cards

I wore my typewriter tie and Danny wore his Eastern Suburbs rugby socks!
 
Two good looking sons: Danny and his best man, Martin Messenger

Typewriting World Cycling Champion

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Proud manual portable typewriter owner, Canberra's Rebecca Wiasak, this morning won the women's 3000 metres individual pursuit title at the UCI world track cycling championships at Saint-Quentin-en-Yvelines outside Paris, France.
In these days of arrogant, ignorant and grossly overpaid sports stars, it would be impossible to meet a nicer or more level-headed champion that Rebecca Wiasak. And she's hugely skilled across a wide range of other sports: middle distance running, basketball, triathlon, to name but a few.
Rebecca celebrates in Paris with Australian teammate and bronze medal winner Amy Cure.
With these qualifications and a proven background in newspaper journalism, perhaps plus a 2016 Rio de Janiero Olympic Games gold medal, Rebecca might one day return to sports writing and aim to cover a Tour de France. If she does, she will have an old portable typewriter to take with her - far more reliable than a multitude of updated laptops.
Back in 2005, Rebecca joined The Canberra Times as a sports journalist. When she was leaving to concentrate on a highly promising multi-sports career, Rebecca plucked up the courage to ask me for a typewriter, as a farewell gift. She said she'd always wanted to own one, and that as a budding sports writer, a typewriter was a must-have. I told her that not only could she have one, but she could have one in the colour of her choice. She immediately chose yellow, hence she was given an Adler Tippa:
Geelong-born Rebecca, who turned 30 last May 24, became the oldest ever world championship debutant for Australia, after making the switch from triathlon and running to competitive road cycling in June 2010, the track in November 2011 and joining the national cycling program in 2013.
The day before her gold medal performance in Paris, Rebecca was overlooked for a ride in the team pursuit event, but stood on the inside of the velodrome and screamed for her Australian teammates, who set a world record on their way to victory.
The US's Valente, Wiasak and Cure.
This morning it was Rebecca's turn, and she went it alone to be the fastest qualifier against the clock by more than two seconds, taking 0.6sec off the Australian record with a time of 3min 27.018sec. Then, in the biggest race of her life, the ride for gold against San Diego's Jennifer Valente, Rebecca simply had too much power and stormed to victory in 3min 30.305sec, beating her American rival by by 3.5sec.
“This is my first world championships. I’ve never won a national championship, so it’s fantastic to get a world title,” Rebecca said. 
Last year Rebecca was the last rider cut from the Australian team for the world championships in Cali, Colombia, and the Commonwealth Games in Glasgow, then in October she lost her national scholarship and was told her place in the program was up in the air. But she refused to quit and after a stellar national championships in Melbourne last month made the team for Paris.
Rebecca's sporting career started in Geelong in 1995 in Little Athletics and in 2000 she competed in the Pacific Schools Games in Sydney. She also represented in basketball, netball and cross country running, playing for the Australian-Lithuanian basketball team in Lithuania in 2009. She moved to Canberra in 2003. She raced as an age-grouper at the world triathlon championships on the Gold Coast in September 2009. 
 

Unreliable Memories: Why the McCarthy Olivetti Lettera 32 Story is Full of Holes

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"I think that when the lies are all told and forgot the truth will be there yet."
 ― Cormac McCarthy, No Country for Old Men
Peter Crossing is one of those mates for whom one would always make an exception - and an effort. After all, Peter has gone out of his way, dragging along his ever-loving wife Deborah in the process, to not alone find but photograph for me the Sholes & Glidden in the Smithsonian in Washington DC, the "Rose in the Barbwire Forest" Voss in the women's history museum in Hanoi, and typewriters in a museum in Bridgetown, Barbados. Better still, Peter and Deborah hosted that superb QWERTY Award evening at their home in Curtin last October.
So when Peter came looking for a portable typewriter for his friend Michael back in his native Adelaide, I naturally got on with the job. After bad experiences with some brain dead South Australians last year, I vowed I'd never again send a typewriter beyond MacCabe Corner. But this request was, as I said, an exception.
Michael, Peter explained, has a desire to try his hand at writing, and had mentioned he'd like to return to the typewriter after many years of being left utterly uninspired by using computers. Michael had a birthday coming up in the New Year, and Peter planned to make the journey west and surprise him with a suitable writing machine.
For weeks Peter and I tossed around what would qualify as "suitable". I had I mind an Olympia SM9 (Paul Auster's name was bandied about) or an Erika, the same model as the one our leading poet David Malouf uses. But as the birthday began to approach, I acquired a spare Olivetti Lettera 32, and had the thought that Michael might find getting back on the bike easier with something smaller and simpler, something that would quickly restore his confidence in riding a typewriter.
Since Auster and Malouf had previously come up in conversation, I thought I'd better throw in a few Lettera 32 users too: Robert Hughes, Will Self, Thomas Pynchon, Philip Roth, Ian McEwan, Martin Amis, John Cheever, Francis Ford Coppola, James Herriot ... and then I was reminded of Cormac McCarthy and his battered $254,000 OL32.
Cormac McCarthy's Olivetti Underwood Lettera 32. That it is branded an Olivetti Underwood, not an Olivetti, can clearly be seen on the paper plate.
What brought the McCarthy portable back to mind was an article in the arts section of The Australian on Saturday in which a grossly misinformed Sydney literary editor, Stephen Romei, wrote about "David Vann’s way with words, writers’ typewriters and [the] Stella Prize".
Romei wrote, "When Colleen McCullough died in late January, one of the small, fine details of the writer’s remembered life came from HarperCollins publishing director Shona Martyn. 'We looked forward to ... the arrival of each new manuscript delivered in hard copy in custom-made maroon manuscript boxes inscribed with her name.'’ One McCullough legend is that she went into town one day to buy a new overcoat, spotted a Blue Bird portable typewriter and on impulse spent her five quid on that instead.
"This came to mind as I was browsing Writers’ Typewriters, a charming little book by Sydney book designer, illustrator and writer Zoe Sadokierski. It features 44 writers and their typewriters: on one page is a drawing of the machine in question, on the other a little story, usually with a quote from the typist. Here’s Raymond Chandler, who used an Underwood Noiseless: 'Throw up into your typewriter every morning. Clean up every noon.' I find it interesting that while some writers have intimate relationships with their typewriters (Paul Auster says of his Olympia SM9: 'I have trouble thinking of my typewriter as an it. Slowly but surely, the it has turned into a him.'), others are more ambivalent (T.S. Eliot, a Smith Corona man, observes: 'The typewriter makes for lucidity, but I am not sure that it encourages subtlety.'’) Australia has two representatives, Patrick White and David Malouf, and the latter is typically lovely. Recalling that the cost of two new ribbons for his Erika was $5, he adds: 'I couldn’t believe something so precious could be so cheap.' 
"Who knows what McCullough’s Blue Bird portable would be worth now? As Sadokierski informs us, Cormac McCarthy bought his Olivetti Lettera from a Tennessee pawnbroker for $US50 in 1963. In 2009, post The Road, he sold it at auction for $US254,00, donating the proceeds to scientific research."
Thus the furphy gets repeated and compounded and gains further unwarranted currency. Sadokierski didn't check her facts, Romei simply assumed she had and duplicated her incorrect statement ... and on and on this false story goes. "Sadokierski informs us" wrongly.
How much of what is written about typewriters today is misguided, and based on falsehoods and misconceptions?
Judging by what I've seen of a typewriter book to be published in Britain later this year (not the well-researched and well-written The Typewriter Revolution, which is to be published in the US in November), the answer to this question is: An awful lot of it, if not most. Sadokierski's book is just another example of a typewriter tome being written without the necessary original research work being put into it. I gather the authors of the British book don't know the difference between a platen from a typebasket.
Cormac McCarthy could NOT have bought an Olivetti Lettera 32 second-hand in Knoxville, Tennessee, in 1963. Why? For the very simple reason that no one could have bought a brand new Olivetti Lettera 32 anywhere in Tennessee, or anywhere else for that matter, for any amount of money in 1963, let alone a second-hand one.
The Olivetti Lettera 32 did not go on sale in the US until mid-April 1964. And even then the Lettera 22 was still being sold brand new. These adverts introduced the new model between May and December 1964. A brand new Lettera 32 was a standard $74.50 plus federal taxes right across the country during this period, but a trade-in could drop the price to $49.50 plus taxes. The Lettera 22 was being sold brand new for $68 at Christmas 1963.
What's more, the serial number on McCarthy's Lettera 32 doesn't add up to 1963 or 1964. In his covering note before its sale, McCarthy said its serial number was 2143668. My Lettera 32, which I bought in New Zealand in March 1966, has the serial number 2144159, just 491 below McCarthy's. Mine has the lowest Lettera 32 serial number I have seen first-hand. The Typewriter Age Guide and the databases have the Lettera 32 serial numbers starting at 2396736 by the end of 1965, a difference of more than a quarter of a million typewriters after mine. 
My Lettera 32, bought a long way from Knoxville, Tennessee, and a long time after autumn 1963.
McCarthy later revised the year of purchase from 1958 to “a few years later”. At the time of the sale, it was claimed the typewriter had been bought in 1963.
'This typewriter was purchased by me in a pawnshop in Knoxville Tennessee in the fall of 1958. I paid fifty dollars for it. It is an Olivetti Lettera 32 and the serial number is 2143668. It has never been serviced or cleaned other than blowing out the dirt with a service station airhose and by the fall of 2009 it was beginning to show fairly serious signs of wear. I mentioned this to my friend John Miller at the Santa Fe Institute where we both are fellows and he said that he would get me another one, which he did. Then he asked what I intended to do with the old one and I said I don’t know and he said: Why don’t you auction it off and give the proceeds to the Institute? I thought that was a good idea and my friend Glenn Horowitz arranged the matter with Christie’s auction house. I have typed on this typewriter every book I have written including three not yet published. Including all drafts and correspondence I would put this at about five million words over a period of fifty years.'
An official history of British Olivetti Ltd confirms that the Lettera 32 was introduced “in the (northern hemisphere) summer of 1964", that is sometime between June and August, "following its successful launch in Italy at the end of the previous year. It was designed to meet the needs of the fast typing journalists and plodding schoolgirls. This mass-seller was priced [in Britain] at £27 10s 0d."
It would seem far more likely that McCarthy bought his Lettera 32 in the first half of 1965 - not the fall of 1963 - which would explain why its serial number is far closer to the one on my Lettera 32. He must have bought it in the US, as it is labelled an "Olivetti Underwood", not an "Olivetti".
During that summer of 1965, McCarthy, using a travelling fellowship award from the American Academy of Arts and Letters, left the US on the liner Sylvania, headed for Ireland. He had previously used a Royal portable, but before crossing the Atlantic had "I tried to find the smallest, lightest typewriter ..." 
Clive James typing on a Remington as art students the Orientation Week issue of Honi Soit at the University of Sydney in February 1960.
I thought again of McCarthy's unreliable memories when I read in The Sydney Morning Herald on Saturday that P.J. O'Rourke has written a new introduction to Clive James'Unreliable Memoirs. 
O'Rourke wrote, "What accounts for Unreliable Memoirs being the best memoir in the world? And by that I mean no backhand compliment. The memoir genre has suffered an over-grown pullulating decadence of bloom in the 35 years since Clive's work was published. One need only be bitten by a shark or fondled by a step dad to unload one's history upon the reading public. Nowadays to say 'best memoir in the world' is almost to say 'best fart in an elevator'. But do not blame Clive. His book trails none of the stink of the up-to-date memoir. Especially it has no funk of message - no fetor of 'setting goals', no reek of 'courageous persistence', no effluvium of 'self-acceptance', and none of the fetid compost-heap putrescence of 'finding my inner me'. Nor does Clive ever fall back upon that most pathetic trope of storytellers,   'And it really happened'. On the contrary Clive starts his preface to Unreliable Memoirs by saying, 'Most first novels are disguised autobiographies. This autobiography is a disguised novel.' Thus Clive becomes, so far as I know, the first honest memoirist. And, so far as I see, the last."
Oh, if only writers of typewriter books (other than Richard Polt, of course), and sellers of expensive typewriters, were as honest as Clive James. Wouldn't it be wonderful if they started doing their own real research, and stopped relying on the memories of others and previously published stories for what they write? Instead, what are purporting to be typewriter books these days are just farts in elevators. That is, putrid.
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