The Typewriter Revolution – C.M. Mayo's Book Notes & Convos

Q & A with Philosopher Richard Polt on “The Typewriter Revolution”

BY C.M. MAYO — November 22, 2021
UPDATE: This blog was then entitled Madam Mayo (2006-2022).

“[A]fter I started collecting typewriters in 1994, I rediscovered the pleasure of using them once in a while. My desire to use them more often led me to start “typecasting” in 2010—writing posts on a typewriter, then scanning and uploading them to a blog. It was a great decision. It connected me to the typosphere (typewriter bloggers around the world), and opened my eyes to the many uses these machines have today.”— Richard Polt

This blog posts on Mondays. Fourth Mondays of the month I devote to a Q & A with a fellow writer.

So, dear writerly readers, it is a delight and an honor to present you this month’s Q & A with none other than Richard Polt.

From The Typewriter Revolution’s catalog copy:

“Why a typewriter now? How do you find a good typewriter? How do you take care of it? The Typewriter Revolution has the answers.

“What do thousands of writers, makers, kids, poets, artists, steampunks, and hipsters have in common? They love typewriters—the magical, mechanical contraptions that are enjoying a surprising second life in the 21st century. The Typewriter Revolution documents the movement and provides practical advice on how to choose a typewriter, use it, and care for it—from National Novel Writing Month to letter-writing socials, from type-ins to customized typewriters.”

This is all a little more serious than it might appear, however. Richard Polt is a professor of Philosophy at Xavier University and the author of several works about the philosophy of Martin Heidegger, most recently, Time and Trauma: Thinking Through Heidegger in the Thirties. Heidegger is perhaps best known for his essay, “The Question Concerning Technology,” which first appeared in print in 1954.

Richard Polt, author of *The Typewriter Revolution*

C.M. MAYO: What prompted you to start using a typewriter?

RICHARD POLT: I took a typing class in school when I was 11 years old, in 1976, and my father soon found a 1937 Remington Noiseless no. 7 for me at a yard sale. I used that Remington for school, college, and grad school until I got a Mac in 1988. Then there was a period of several years when I didn’t even consider using a typewriter again. But after I started collecting typewriters in 1994, I rediscovered the pleasure of using them once in a while. My desire to use them more often led me to start “typecasting” in 2010—writing posts on a typewriter, then scanning and uploading them to a blog. It was a great decision. It connected me to the typosphere (typewriter bloggers around the world), and opened my eyes to the many uses these machines have today.

C.M. MAYO: What sorts of things do you use your typewriter to type?

RICHARD POLT: Brainstorms, fiction, poetry, letters, comments on students’ papers, blog posts.

C.M. MAYO: Which model is your go-to typewriter?

RICHARD POLT: I still love my first typewriter, the Remington Noiseless no. 7; it’s next to my laptop right now. I also really enjoy my Continental portable and my Olympia SG1. I enjoy cycling through other models as well, such as my Voss De Luxe, Torpedo 18, and Olivetti Lexikon 80.

C.M. MAYO: Which, in your opinion, is the number one slam-dunk most bodacious typewriter ever manufactured?

RICHARD POLT: I am always looking for “the perfect typewriter” and also simultaneously hoping I won’t find it, so that the exciting search can go on. But the Olympia SG1 comes close to perfect for a standard—it’s smooth and snappy, accurate, strong, and full of features. An interesting candidate for the perfect portable (though it’s still pretty big and heavy) is the Erika 20, a super-sophisticated East German machine that’s nearly impossible to find in QWERTY. And if you want an electric, the IBM Selectric can’t be beat.

C.M. MAYO: After your book, The Typewriter Revolution, was published, what surprised you the most about readers’ responses?

RICHARD POLT: The delightful response that I didn’t see coming was a dance based on my Typewriter Manifesto. The awful response that I didn’t see coming was a reader review that described the book as obscene (huh?).

C.M. MAYO: What prompted you to start Loose Dog Press?

RICHARD POLT: The idea began after I read a couple of short stories in the typosphere about the typewriter insurgency fighting the powers of computerdom, or people using typewriters in an apocalyptic scenario. I thought it would be fun to challenge people to write more stories along these lines—and to publish the typewritten texts. This project evolved into the anthologies Paradigm Shifts and Escapements, which I edited with novelist Frederic S. Durbin and English professor Andrew V. McFeaters. I didn’t think a mainstream publisher would be interested in this admittedly very specialized niche, so why not start my own publishing house?

Loose Dog Press (a pun on the name for a part in a typewriter’s escapement mechanism) is dedicated to promoting typewriting in the 21st century. The books are printed on demand, sold at cost, and available only on paper. There is more information at https://loosedogpress.blogspot.com.

C.M. MAYO: What gratified you, what frustrated you, and what surprised you about Loose Dog’s first books?

RICHARD POLT: We’ve been gratified and surprised by the amount of interest and the number of strong submissions that have come our way from around the planet. The Cold Hard Type series, which now includes four volumes, has successfully inspired people to take their typewriters down from the shelf and use their imagination both with them and about them. Honestly, although it’s been plenty of work to select contributions and use Photoshop to correct errors in typescripts, there have been almost no frustrations. My co-editors are insightful and friendly, and Linda M. Au has been a great help in producing the layout for each volume.

C.M. MAYO: If you could offer a word, or maybe a couple of sentences, of advice for anyone who is thinking of starting a press, what would you tell them?

RICHARD POLT: Do it! We are in a golden age of publishing, in the sense that you need no capital at all to begin publishing books. You just need some technical know-how to create a PDF which can then be printed on demand. Of course, it also helps to have literary and aesthetic taste. Appearances count.

C.M. MAYO: But back to typewriters: A thought experiment. Martin Heidegger, popping in from the afterlife, has offered to type his blurb for The Typewriter Revolution. What does he say?

RICHARD POLT: “What do you mean, type a blurb? I refuse to use a Schreibmaschine! The writing machine is destroying the essence of writing, which is hand-writing! … What’s that? You can’t read my handwriting? All right, I will have my assistant type it up. … OK, OK, I see the irony already. You don’t have to rub it in! Well, at least writing machines are not as devastating as thinking machines. So I’ll give Herr Polt’s scribbles some grudging credit for denouncing the cybernetic worldview.”

Visit Richard Polt’s blog at The Typewriter Revolution.
Writers take note! See also his call for submissions for the next Loose Dog Press anthology, Margin Releases: Typewritten Tales of Transgression. Deadline: March 1, 2022.

I welcome your courteous comments which, should you feel so moved, you can email to me here.

From the Typosphere: “Right” and “Wrong”

“The Typewriter Manifesto” by Richard Polt,
Plus Cyberflanerie on Technology

Q & A with Álvaro Santana-Acuña on Writing
Ascent to Glory: How One Hundred Years of Solitude
Was Written and Became a Global Classic

From the Typosphere: “Right & Wrong”

Typed on the 1961 Hermes 3000, a pair of poems from Meteor:

At last, my book, Meteor, which won the Gival Press Poetry Award, is listed on amazon, et al. The official launch will be in March, at the Association of Writers and Writing Programs (AWP) Conference in Portland, Oregon. If you’re attending that conference, I welcome you to come by the Gival Press 20th Anniversary Celebration Reading and my book signing at the Gival Press table in the bookfair.

Apropos of typing, I am honored to also announce that my short story “What Happened to the Dog?” has been accepted for Cold Hard Type: Typewriter Tales from Post-Digital Worlds, edited by novelist Frederic S. Durbin, writer and Professor of English Andrew McFeeters, and philosopher Richard Polt, the Dean of the Typoshere, and author of The Typewriter Revolution. My own vision of the post-digital world? A mashup of a Fortean echo of Aeschylus’ death, the Galapagos Islands, an Ivy League university quadrangle, and round-a-campfire singin’ with the Girl Scouts. (Like they say about the future, the imaginal can be a beyond-strange land.) What post-digital worlds did the other contributors come up with? I for one look forward to reading…

In case you missed it, I posted here a while ago about the return to typewriters. As Andrew McFeeters says on his blog, The Untimely Typewriter:

“There’s a small, international army of typewriter users and collectors on this planet called Earth. Many share some core beliefs: 1) The typewriter inspires creative, deliberate, and thoughtful writing through its singular purpose; 2) Typewriters have no distracting social media apps. Writing, after all, is a solitary act; 3) Typewriters do not require batteries; 4) New technology is not bad, but it is inferior to the mighty typewriter; 5) If you do not think typewriters are cool, then that leaves more typewriters for the rest of us. Still, don’t knock it until you try it; and 6) If you feel the clacking call of the typewriter beneath the full moon on a windy night, check out Richard Polt’s website”

Richard’s blog is named after his book, The Typewriter Revolution.

P.S. Visit again next Monday for a fascinating Q & A with Ellen Cassedy, who has translated a brilliant, moving, and genuinely landmark book of short fiction.

From the Typosphere: “Bank”

Typosphere, Ho! “Stay West” on my 1961 Hermes 3000

Poetic Repetition

Visit my website for more about my books, articles, and podcasts.

Consider the Typewriter (Am I Kidding? No, I Am Not Kidding)

Perhaps, dear writerly reader, you have heard of Freedom, the app that blocks the Internet so you can focus on your writing (or whatever offline task). It is not cheap; prices have gone up more than a smidge (ayyyy!) since I purchased it some years ago for a mere USD 10. Nope, I don’t use it. End of review.

[UPDATE: As of March 2019 I use the latest version of the Freedom app and can recommend it. I plan to post about my experience with the Freedom app on one of the second Monday of the month workshop posts in 2021.]

Of course, a more economical alternative for those who work at home would be to simply switch off the wi-fi signal.

But never mind, there you are, glued to your computer, same screen, same keyboard, same desk, same chair, and whether you’re using the Freedom app or you’ve turned off the wi-fi signal, either can be reversed (that is, the Freedom app turned off, or the wi-fi switched back on) in a matter of the slight inconvenience of a moment. Staying off-line when you’re working on a computer is akin to trying to diet with an open box of chocolates within reach! As they say, Don’t think about the pink elephant. Or, elephant-shaped chocolates with a cherry in the middle! Or, for a more au courant Internetesque analogy, Don’t think about cats! And certainly not cats wearing hats!

YE OLDE NONELECTRIC TYPEWRITER

Yet another strategy for diminishing the pull of the Internet, at least for some writers some of the time, would be to get up from the computer, aka the distraction machine, and hie thee over to ye olde typewriter.

My typewriter went to Goodwill years ago. But now, with a book to complete, I am seriously considering going back to using a typewriter. I am old enough to remember typing up my papers for school and college, that satisfying clackety-clack and the little ding at the end of the right margin… The calm. The focus.

Speaking of analogerie, I am also, as those of you who follow this blog well know, massively, as in an-entire-parade-ground-filled-with-dancing-pink-elephants-and-cats-in-hats-all- under-a-rain-of-chocolates, massively, relieved to have deactivated my Facebook account . That was back in August of 2015. Yes indeed, having eliminated that particular bungee-pull to the Internet, I have gotten a lot more writing done, and I am answering my email in a more consistently timely manner.

So, typewriters. I spent an afternoon of the Thanksgiving weekend doing some Internet research. Herewith:

Five Reasons to Still Use a Typewriter
By Gerry Holt, BBC News Magazine

The Hidden World of the TypewriterBy James Joiner, The Atlantic

The Typewriter Revolution: A Typist’s Companion for the 21st Century
By Richard Polt
A superb reference written by a professor of philosophy. His blog is The Typewriter Revolution

WHERE TO FIND A GOOD OLD (AND MAYBE REALLY OLD) NONELECTRIC TYPEWRITER

Why nonelectric? It might be nice to type in the tipi! But also, it seems that some of the best workhorse typewriters are nonelectrics made back in the mid-20th century. The only nonelectric typewriters currently being manufactured are from China and although cheap, they’re crap, so if a nonelectric typewriter is what you want, think vintage.

For a rundown on vintage brands and models, both nonelectric and electric, Polt’s The Typewriter Revolution is an excellent resource. On his website Polt also maintains a list of typewriter repair shops.

You could start combing through the cheapie listings on EBay and Goodwill, and if you have the time and can stand the skanky vibes, peruse the stalls in your local flea market. You might even grab a typewriter for free– perhaps the one gathering cobwebs in your parents’ garage…

But it seems to me that, if you want to start typing ASAP on a good vintage machine, the best strategy would be to shell out the clams to a dealer who specializes in refurbishing or “reconditioning” quality typewriters, and who offers his or her customers a guarantee. I should think you would also want to confirm that it will be possible to source ribbons.