Penman No. 344: Into the Typosphere

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Penman for Monday, March 11, 2019

 

THE LAST time I wrote in this corner about typewriters, back in mid-August last year, I had just four of these machines in my stable, and primly announced that I really wasn’t a typewriter collector—yet. Since then, for some strange reason only equally strange people can understand, that quartet has grown to about 17, by my latest count. They breed! I was actually happy to sell off one typewriter one morning last week—to free up space, I told myself—only to find and buy another one that same afternoon.

I’ve long acknowledged an addiction to old fountain pens, old books, and midcentury paintings—all of them jostling for accommodation and attention in my shrinking man-cave—but I’m still reluctant to face the fact that a taste for typewriters has been creeping up on me. (And if you think 17 is a lot, I have a lawyer-friend—who shall go unnamed for now—who has about 70; we have interesting conversations, having nothing to do with politics and everything to do with platens.)

As a writer with soft, warm feelings for the tools of his trade (aside from fountain pens, I also collected old Apple Macintosh laptops, about a dozen of which I finally gave away last month), I suppose it was only a matter of time before I returned to the machine on which, after all, I wrote my early stories, plays, and screenplays. I remember pecking away on a rusty Royal back in the 1970s, later replaced by my father-in-law’s battleship Olympia and then a handier Olympia Traveller that I ported with me to grad school in the US, to the amusement of my computer-savvy friends.

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But there are still hundreds if not thousands of people out there—you’ll find the most ardent dozens on the Antique Typewriter Collectors group online—who may never have written more than business letters and birthday greetings on their Remingtons and Underwoods, and yet hold on to them with the sometimes scary passion of the true believer.

Typewriter collectors and users—they call themselves “typospherians” just as pen collectors might respond to “stylophiles” when they’re feeling fancy—don’t necessarily eschew computers, and may even lament the absence of the @ sign on some keyboard layouts. But they’re fiercely protective of their “typers,” and no crime could be worse than the sacrilege committed by “keychoppers” who playfully pull out and convert old typewriter keys into something resembling jewelry.

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(Image from Wikipedia)

For the serious and practicing typist (in olden times, secretaries and clerks were themselves called “typewriters”), the allure of the clackety-clack is in the total concentration it forces upon you—with no screens or pop-up messages to distract you from the message or the novel you’re composing.

Just like car or watch or pen collectors, typospherians have their “holy grails” (you can find one such list here of the Ten Most Wanted), but short of the near-impossible to find, crowd favorites include the curvy Hermes 3000 in seafoam green, the iconic 1960s-pop Olivetti Valentine in red, and the 1920s foldable Corona 3, among other classics (and yes, I must sheepishly confess to having all three).

As with all collectibles, celebrity ownership helps (Sylvia Plath’s 1959 machine, on which she wrote The Bell Jar, sold a year ago at Bonham’s for £32,500, or over P2.2 million, while David Bowie’s Valentine sold at Sotheby’s in 2016 for £45,000), but it’s probably the least important factor in typewriter collecting, given that you can find near-mint examples at resale shops and garage sales in the US for well below $50, and online for below $200.

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Last August, I trotted out my 1922 Corona 3, my 1930s Royal O, my 1970s Olivetti Valentine, and my 1980s Olympia Traveller de Luxe. This week, let me introduce a new quartet—all but one of them, incredibly enough, local pickups either posted online or sold in such specialty places as Cubao Expo.

Let’s say hello to (clockwise in the pic) a Hermes 3000 from 1961, a Hermes Baby also from the 1960s still sporting its decal from the Manila Office Equipment Co., a 1950s Groma Kolibri from East Germany, with a Cyrillic keyboard (I don’t imagine writing any novels on this one), and a 1955 Smith Corona Silent Super (to add to the euphony, it’s super-smooth). I’m particularly elated by the Swiss-made Hermes 3000, finding just one of which—especially in this condition—could take years in this country; as luck would have it, I found two in great shape, at bargain prices, on the same day a couple of weeks ago (and passed one on to my lawyer-friend, at cost plus a nice bottle of shiraz or merlot, to celebrate the find). And sometimes it isn’t so much the machine itself but what it comes with that’s the surprise, like this fancy script I found on a 1970s Smith Corona Classic 12.

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I should add that one of the great gurus of the typewriting world, Gerald Cha, lives right here in Manila, and does amazing work restoring old machines coming from as far away as the US. Right now he’s working on an 1886 Caligraph—check him and his projects out on Instagram.

I do my own hunting, but if you’re craving a pink or fire-red Olympia right now, visit https://typewritersmanila.com. Quick, brown fox—jump over the lazy dog!