Quotes with typewriter

When forced to leave my house for an extended period of time, I take my typewriter with me, and together we endure the wretchedness of passing through the X-ray scanner. The laptops roll merrily down the belt, while I’m instructed to stand aside and open my bag. To me it seems like a normal enough thing to be carrying, but the typewriter’s declining popularity arouses suspicion and I wind up eliciting the sort of reaction one might expect when traveling with a cannon.It’s a typewriter,’ I say. ‘You use it to write angry letters to airport security.

I am alone this evening, and I am alone because of a cruel twist of fate, a phrase which here means that nothing has happened the way I thought it would. Once I was a content man, with a comfortable home, a successful career, a person I loved very much, and an extremely reliable typewriter, but all of those things have been taken away from me, and now the only trace I have of those happy days is the tattoo on my left ankle. As I sit in this very tiny room, printing these words with a very large pencil, I feel as if my whole life has been nothing but a dismal play, presented just for someone else’s amusement, and that the playwright who invented my cruel twist of fate is somewhere far above me, laughing and laughing at his creation.

Live or die, but don't poison everything...Well, death's been herefor a long time --it has a hell of a lotto do with helland suspicion of the eyeand the religious objectsand how I mourned themwhen they were made obsceneby my dwarf-heart's doodle.The chief ingredientis mutilation.And mud, day after day,mud like a ritual,and the baby on the platter,cooked but still human,cooked also with little maggots,sewn onto it maybe by somebody's mother,the damn bitch!Even so,I kept right on going on,a sort of human statement,lugging myself as ifI were a sawed-off bodyin the trunk, the steamer trunk.This became perjury of the soul.It became an outright lieand even though I dressed the bodyit was still naked, still killed.It was caughtin the first place at birth,like a fish.But I play it, dressed it up,dressed it up like somebody's doll.Is life something you play?And all the time wanting to get rid of it?And further, everyone yelling at youto shut up. And no wonder!People don't like to be toldthat you're sickand then be forcedto watchyoucomedown with the hammer.Today life opened inside me like an eggand there insideafter considerable diggingI found the answer.What a bargain!There was the sun,her yolk moving feverishly,tumbling her prize --and you realize she does this daily!I'd known she was a purifierbut I hadn't thoughtshe was solid,hadn't known she was an answer.God! It's a dream,lovers sprouting in the yardlike celery stalksand better,a husband straight as a redwood,two daughters, two sea urchings,picking roses off my hackles.If I'm on fire they dance around itand cook marshmallows.And if I'm icethey simply skate on mein little ballet costumes.Here,all along,thinking I was a killer,anointing myself dailywith my little poisons.But no.I'm an empress.I wear an apron.My typewriter writes.It didn't break the way it warned.Even crazy, I'm as niceas a chocolate bar.Even with the witches' gymnasticsthey trust my incalculable city,my corruptible bed.O dearest three,I make a soft reply.The witch comes onand you paint her pink.I come with kisses in my hoodand the sun, the smart one,rolling in my arms.So I say Liveand turn my shadow three times roundto feed our puppies as they come,the eight Dalmatians we didn't drown,despite the warnings: The abort! The destroy!Despite the pails of water that waited,to drown them, to pull them down like stones,they came, each one headfirst, blowing bubbles the color of cataract-blueand fumbling for the tiny tits.Just last week, eight Dalmatians,3/4 of a lb., lined up like cord woodeachlike abirch tree.I promise to love more if they come,because in spite of crueltyand the stuffed railroad cars for the ovens,I am not what I expected. Not an Eichmann.The poison just didn't take.So I won't hang around in my hospital shift,repeating The Black Mass and all of it.I say Live, Live because of the sun,the dream, the excitable gift.

There is nothing to writing. All you do is sit down at a typewriter and bleed.

Throw up into your typewriter every morning. Clean up every noon.

There's nothing to writing. All you do is sit down at a typewriter and open a vein.

I write description in longhand because that's hardest for me and you're closer to the paper when you work by hand, but I use the typewriter for dialogue because people speak like a typewriter works.

There is only one place to write and that is alone at a typewriter. The writer who has to go into the streets is a writer who does not know the streets. . . when you leave your typewriter you leave your machine gun and the rats come pouring through.

But how?" my students ask. "How do you actually do it?" You sit down, I say. You try to sit down at approximately the same time every day. This is how you train your unconscious to kick in for you creatively. So you sit down at, say, nine every morning, or ten every night. You put a piece of paper in the typewriter, or you turn on the computer and bring up the right file, and then you stare at it for an hour or so. You begin rocking, just a little at first, and then like a huge autistic child. You look at the ceiling, and over at the clock, yawn, and stare at the paper again. Then, with your fingers poised on the keyboard, you squint at an image that is forming in your mind -- a scene, a locale, a character, whatever -- and you try to quiet your mind so you can hear what that landscape or character has to say above the other voices in your mind.

When you're all alone out there, on the end of the typewriter, with each new story a new appraisal by the world of whether you can still get it up or not, arrogance and self-esteem and deep breathing are all you have. It often looks like egomania. I assure you it's the bold coverup of the absolutely terrified.

There is a problem with writers. If what a writer wrote was published and sold many, many copies, the writer thought he was great. If what a writer wrote was published and sold a medium number of copies, the writer thought he was great. If what a writer wrote was published and sold very few copies, the writer thought he was great. If what the writer wrote never was published and he didn't have enough the money to publish it himself, then he thought he was truly great. The truth, however, was there was very little greatness. It was almost nonexistent, invisible. But you could be sure that the worst writers had the most confidence, the least self-doubt. Anyway, writers were to be avoided, and I tried to avoid them, but it was almost impossible. They hoped for some sort of brotherhood, some kind of togetherness. None of it had anything to do with writing, none of it helped at the typewriter.

I'm sitting in my office trying to squeeze a story from my head. It is that kind of morning when you feel like melting the typewriter into a bar of steel and clubbing yourself to death with it. (“Advance Notice”)

On the second floor was the office in which Houston pounded an ancient typewriter with two fingers, always setting an example of unceasing hard work for his admiring students. They had no hint of the fact that their hard-driving dean had contracted tuberculosis while serving as a GI in France in Word War I. Houstan always seemed vibrant and impassioned in the chase for justice as he tried to expose his students to everything relating to the law that might give them an advantage.. . ."I never worked hard until I got to the Howard Law School and met Charlie Houston," Marshal told me. "I saw this man's dedication, his vision, his willingness to sacrifice, and I told myself, 'You either shape up or ship out.' When you are being challenged by a great human being, you know that you can't ship out."So Houston rescued Marshall and launched him into a career as one of the greatest lawyers in American history.