Acquisition: 1957 Remington Quiet-Riter with Miracle Tab Manual Typewriter

In my recent typewriter collecting spree, I’ve received what may be the best of the group so far. Immaculately wrapped and boxed, the portable Remington Quiet-Riter arrived on my doorstep yesterday afternoon. With it’s incredibly smooth, quiet action and crisp elite typeface, I can tell it is going to be my daily driver for years to come.

Overall Condition

Having purchased it “untested” as an auction item at bargain basement price, you’re never quite sure what to expect, you just pray for no major escapement damage and go from there. I fully expected to need to fix half a dozen bits and some heavy cleaning as I have with other machines. As it turned out, each part I began testing worked flawlessly and the machine is quite clean!

In general the machine is in near mint condition. There is one tiny brown discoloration spot on the case, but, the case being brown, it’s not very obvious. Beyond this, the case looks like it just came off the factory floor. 

The machine was generally very clean and almost looks like it had been serviced and then not used since. There was some lint and dust on the bottom which wiped off easily and a quick blow out should clear the rest. There are one or two minor signs of wear to the powder coat on the front and a small bit of peeling on the bottom rear, but overall it’s been pretty well loved and probably not seen more than a few years of moderate use.

Everything functioned as expected save two required adjustments relating to how the slugs strike the platen. The capital letters were striking a tad higher than the lower case, but the adjustment for the UC “on feet” screw on the bottom of the typewriter fixed that issue fairly quickly. There’s also two separate brackets each with two screws that will require adjustment for the caps lock to be properly aligned as well; I’ll take care of that later this week sometime. I notice one or two small screws that could use some fine tuning as well, but I’ll get to that shortly as well. Interestingly there is already a YouTube video for some of these adjustments for this exact year model should anyone need it. Additionally, Theodore Monk has some details for alternate makes/models.

The serial number on the machine is QR3214352 which the Typewriter Database dates specifically to April 1957. This means that this machine will be 67 years old this coming Spring.

The serial number QR3214352 stamped into the metal chassis.
The serial number on the Remington Quiet-Riter can be found stamped into the chassis on the right hand side of the machine on a piece of metal next to the ribbon spool underneath its hood.

Keys

Unlike many early typewriters, this keyboard has a dedicated key for the “1”/”!”  as well as a dedicated caps lock key for the right hand (in addition to the usual one for the left). Also present is a special “Tab” key on the right hand side just below the margin release “M.R.” key.

Close up of the green keys with light green lettering on the keyboard of the Remington Quiet-Riter.

Other Functionality

In addition to some of the standard functionality, including tab settings which became common in the 1950s, this unit has an auto-reverse for the ribbon, 3 type select settings for finger pressure/action, and three line space selections. Richard Polt hosts versions of the Quiet-Riter manual (1955) as well as a parts catalog (1953) a service manual (1953).

Of particular note (and something I’ve never seen on a machine before) is a set of teeth on the platen which have a custom switch for fractional line spacing. This is useful for sub-script and super-script needs. It’s effectuated by pressing down on the line locating lever on the left side near the platen knob which then allows one to rotate the platen up or down the required amount to type the characters. When done, one switches the lever back to set the platen to the original line spacing. This would also have been useful on older machines for creating equal signs with two strikes of the hyphen, but isn’t needed on the Quiet-Riter which has a dedicated “=” key.

While the unit came with an all black ribbon in usable shape, I chose to switch it out with a new blue/black combination. The Quiet-Riter has the larger custom 2cm core rings and spools (and this unit had the original metal rings and covers), so I had to manually remove the plastic cores from the newer ribbon and carefully insert them into the machine so that when the spool empties the mechanical sensor will trip and automatically reverse the ribbon. Of course, given the set up one could also wind their own replacement ribbon as seen here:

Typeface Sample

The pitch on this machine is 12 characters per inch (elite). The full platen is 110 characters wide.

Typed library card catalog card that reads:
1957 Remington Quiet-Riter Miracle Tab 
Serial number: QR 3214352 
Elite typeface; portable; platen 38mm 
1234567890-= !"#$%&'()*+ qwertyuiop
asdfghjkl; 
zxcvbnm,./ QWERTYUIOP ASDFGHJKL:@ ZXCVBNM,.? 
the quick brown fox jumps over the lazy dog 
A VERY BAD QUACK MIGHT JINX ZIPPY FOWLS

Sound 

Here’s a sound sample of inserting an index card, writing a sentence, and a return on the 1957 Remington Quiet-Riter.

Photo Gallery

A powder coated gray typewriter with green keys sits in its open case on a wooden table. View into the very clean type-basket of the Remington Quiet-Riter View of the top right corner of the Remington Quiet-Riter carriage return with typeface markings that go up to 110 where the margin selector has been set. Oblique angle of the right side of the typewriter. View from the keyboard up into the underside of the open hood of the typewriter featuring several pieces of black felt which help to dampen the noise it makes. Close up view of the steel ribbon spool. A view of the bottom of the typewriter indicating how generally clean the machine is. Close up of the bottom right corner of the machine which has a few small patches of peeling paint, one of the few flaws on the machine. A view of the rear end of the typewriter featuring a painted Remington Rand logo. The open hood of the typewriter featuring the right ribbon spool in front of which is the color selector for either the top color, the bottom color or the stencil setting (middle).

Exquisite brown textured hard case with brown rubber edge trim and large tan stitching sitting on a wooden table next to a green plant

Acquisition: 196X Smith-Corona (SCM) Galaxie Deluxe 10 – 6T2V Series Manual Typewriter

I purchased this SCM typewriter through an online auction on 2024-03-02 and received it this morning on 2024-03-07 at 10:00 AM. The seller stated this was a 1969, but the Typewriter Database doesn’t seem to have serial number dating for this range of typewriters which were manufactured between 1966 and 1972. I doubt the seller was in possession of any details to support their 1969 claim.

The machine didn’t come with its original manual, but Richard Polt’s site has a reasonably close one for the Smith-Corona Galaxie line. You have to love the atomic logo on the front and the description “World’s Finest Non-Electric Portable”, which means that at the time, electric machines must have begun taking over the market.

Serial number: 6T2V-146176

Overall condition

The machine is in fairly reasonable shape with some scratches and imperfections. I’ll clean it up and post some additional photos shortly. I’ve already created a stub for it on the Typewriter Database. One of the noticeable bits of “wear” is that what were surely white plastic trim and keys have yellowed with light exposure over the ages. 

There is some body wear and scratching commensurate with age, particularly where the return bar might hit the hood. It sadly didn’t come with a case.

The good news is that it not only works, but works pretty well for the model and age and the $18.00 I paid for it. Just playing with it a bit this afternoon has already given me more joy than the cost of admission. I can’t wait until I’ve given it a complete overhaul.

Keys

Close up of the typewriter's keyboard .

Space bar key is friction fit onto the keyboard and came off pretty easily when I flipped it over for some quick repairs. Fortunately it goes back on quickly.

I think this is the first time I’ve had a typewriter with a dedicated “1” / “!” key rather than relying on the “l” or the usual apostrophe-back space-period combination for those to glyphs.

It came with broken linkages on keys “1”, “T”, and “.”, but these were easily fixed although the “.” was blocked a bit by internal mechanisms. The “T” type-bar was slightly bent, but when back into alignment with a small tweak. All the keys work well though the “.” is a bit sticky, something that should clear itself up once fully cleaned. I suspect that these broken linkages were the reason the last owner gave up the typewriter. Overall, the typewriter has a pretty sharp action and a satisfying snap when typing. I’m including a sound file below.

View of the bottom of the typewriter with its bottom covered removed. several pair of handheld clamps are holding pieces in place and short lengths of dental floss are tied to portions of three different type arms.
A simple “surgery” to fix some broken keys and we’re off to the races.

For the fast typist that occasionally gets stuck with jammed keys, this model has a key unjammer (on the right side indicated with a key that has a down arrow over two opposing right and left slant marks). When pressed, it presumably pushes back on the U-bar which forces the typebars back. I’ll have to take a closer look at the mechanism when I open it up for a deep clean. This allows the typist the ability to keep their hands on the keys during a jam instead of needing to put their hand into the basket and manually fixing it. The key is roughly where the backspace/delete key on a computer keyboard would be, so it’s reasonably usable for the modern typist.

The machine comes with a clever tab, tab set, and tab clear arrangement just above the top row of keys. With the rear carriage open, one can see a row of metal “teeth” which are either switched “on” or “off” to allow the tab mechanism to operate.

The typewriter also has a fantastic “power-space” button to the right of the space bar that allows the carriage to quickly ratchet itself along. I’ve never had a machine that did this and can imagine using it regularly. I can’t wait to get into the internals to see how the mechanics of this work.

Other Features

The rubber feet are in reasonable shape and are still soft/functional. 

View of the bottom of the typewriter which has a sheet of metal that could be removed by unscrewing four screws.

The machine seems to be missing a plastic cover on the left side of the carriage, but this doesn’t affect functionality. The clear plastic line indicator which also holds the paper against the platen where the slugs hit the paper has sadly been broken off. There are still extant posts, so perhaps I can manufacture a replacement. One can align the top of the line retainer with lines on one’s paper and then advance to get proper type alignment in any case. This can be done by pushing in the black button in the center of the left platen knob to allow for variable line spacing

The original manufacturer sticker has faded into nothing-ness

The unit came with its original metal ribbon spool, but otherwise didn’t have ribbon, so I’ve replaced it with a blue/green ribbon combination. Ribbon installation was very simple and straightforward. Of note here is that instead of lifting up and back as on many other typewriter models, the hood on this model has two internal arms which allow it to slide forward for easy access to the ribbon and type-basket.

The typewriter with it's hood slid forward to see the type-bars and ribbon inside.

The bell works! 

The center of the type-basket is marked with the phrase “Jeweled Escapement” underneath a crown which includes a small red jewel.

Close up of the type-basket and a crown with a ruby colored jewel.

The machine comes with a page gage on the left side of the platen assembly with markings for several lengths of paper. This cleverly allows one to set the page length of paper one is using, insert the paper, and then as one gets to the bottom of a sheet, lines appear for 2 inches left, 1 inch left, and finally a red line to indicate that one is at the end of the page and will need to quit typing to change sheets. With careful management, this allows the typist to have a consistent page margin at the bottom of their sheets.

Close up of the numbered markings on the edge of the platen which indicate both 1 inches and 11 inches.

The Galaxie Deluxe has line spacing controls for single, double, and even triple spacing.

At the base of the carriage near the right platen knob, there is a metal locking tab that when actuated will center the carriage and place it into a pseudo-locked position for storage or transportation in a case. It prevents the machine from typing or the carriage from moving to the left. Presumably it also disengages the escapement to prevent wear on the teeth during shipping, but I’ll have to check this when I’ve got it opened for cleaning.

Typeface Specimen

This typewriter uses a pica scale and the paper scale has markings up to 83 but will space to 84.

An index card with the typewriter name, serial number, and a sample of all the keys typed out followed by the sentence "the quick brown fox jumps over the lazy dog"

Sound

Here’s a sound sample of inserting an index card, writing a sentence, and a return on the Galaxie Deluxe.

Photo Gallery

Hiding inside

One of my favorite parts of used goods is the hidden things one finds inside of them. Here I really only expected the typical pencil eraser bits, but I also found a tiny photo of a boy from what appears to be the early 1970s.

A metal ribbon spool, two small pieces of broken plastic and a tiny tumbnail sized photo of a boy from the 1970s.

 

Type On!

Zettelkasten for Course Work

I’m tending to lean more toward telling students to rely more directly on something like Cornell notes while they’re in classes learning the basics of an area. Too many students considering starting a Luhmann-artig zettelkasten think that they ought to write down everything, atomize it, and link it which would take an inordinate amount of time to those new to the process. This is particularly troublesome because most courses (especially introductory ones) are designed such that much of the material should be fully internalized by the time the course is over. When you take a math class you might learn what 2+2 is and make a note about it, but by the time the course is over, that idea should now be so basic that keeping it in your system should be a bit laughable. Spending time to excerpt it from a lecture, make it atomic, and interlink it is a lot of make-work that isn’t likely to be useful either for the learning the thing to begin with, much less remember it in the long run to potentially use it again.

Once one has mastered most of a course, they might profitably skim through their notes at the end to summarize outcomes they saw and find most useful and interesting. Those things along with the summaries of their Cornell notes might then be useful zettels to keep in the long run. A zettelkasten practice like that of Niklas Luhmann is more useful when one already has a strong lay of the land and they’re attempting to do the work of expanding on the boundaries of new areas of knowledge.

If you are a student contemplating creating a zettelkasten, then the bulk of your notes probably ought to be short snippets kept with your bibliography notes and should not be individual zettels. By this I mean specifically that you might have a bibliographic note (reference note or literature note) for each individual lecture with some fleeting notes about it kept with that card. Then if necessary, you’ll probably only have one or two zettels or permanent notes out of each lecture. If you’re attempting to create 30 permanent notes a day and interlink them all, then you’re going to find yourself overworked and overwhelmed within just a few days.

Acquired Orality and Literacy: The Technologizing of the Word by Walter J. Ong (Methuen & Co.)
Analyzes the differences in consciousness between oral and literate societies and points out the intellectual, literary, and social effects of writing
It’s been on my list for a while now, and I have newer digital editions, but today I acquired a first edition hardcover of Walter J. Ong’s text Orality and Literacy: The Technologizing of the Word (1982). Something about it cries out to be read in its original print incarnation.

It is in excellent shape, though missing a dust jacket and has the attendant portions of an ex-library copy (Widener University). The ex-library features bring me great joy though because its got some reasonable evidence of prior readers in the form of marginalia in at least six different hands as well as two different languages (English and Chinese). I can’t wait to add my own to the growing list.

Midcentury Gaylord Bros., Inc. Oak Modular Library Card Catalog Acquisition

In a quest to expand on my analog office practices, last Saturday, I drove out to Rancho Cucamonga to purchase a spectacular midcentury Gaylord Bros., Inc. modular library card catalog. I spent parts of the week making some minor tweaks (gluing some broken wood rails) and cleaning it up in the garage. Last night, as a present and to celebrate the start of Autumn, I brought it into the house to reassemble it. It now lives in the dining room adjacent to the the office and near both the bar as well as the library that others in the household prefer to call our formal living room. I honestly didn’t pre-plan it this way, but given our floorplan, it is sitting in the “heart” of our home.

Multi-sectional 20 drawer wooden library card catalog in the corner of a room with white walls and a hardwood floor. Oblique view of Gaylord Bros. library card catalog in the corner of a room with colorful paintings hanging on the opposing walls.

Three of the four sections are all similarly made out of oak and appear to be co-contemporaneous in terms of style and materials (solid wood and metal). The final section, a five drawer insert is obviously of later manufacture and while stained brown with what appears to potentially be a mahogany frontispiece, has  plastic trays with metal fittings and what appear to be galvanized steel card stops. The other sections comprise a low level table-like support with four legs; a 5×3 drawer section; and a 2 inch thick top which covers the holes in the top of the modular drawer sections and provides a flat surface. The top section also features the traditional Gaylord Bros., Inc. name plate.

Metal name plate nailed into oak. It features the company name Gaylord Bros., Inc. (in a large stylized script) below which reads "Syracuse, N. Y. - Stockton, Calif." and next to which appears a circular logo with entwined letters G and B around which is written "Established 1896".

Given the subtle intricacies of the construction, I’ll provide some photos of how the pieces dovetail together as well as the smaller mechanics and features in a future post.

Fully assembled the piece is 33″ wide x 17 3/8″ deep and stands 36 1/2″ tall. With internal drawer space of 13 3/4″ for the 15 drawers and 14 1/2″ for the other 5, there should be space for approximately 38,715 index cards.

I’m thrilled that all the fittings seem to be original, and all the drawers have their original card catalog rods. The drawers on the 5×3 drawer section have a spring loaded mechanism under the front of the drawer which when pushed to the left side unlocks the card catalog rods which have beefy brass knobs. The 5×1 drawer section rods are unlocked by pulling up on them slightly from the bottom and then pulling them straight out.

View of the bottom of a card catalog drawer with a finger actuating a spring loaded metal lever to unlock the card catalog's metal rod. Close up view of the metal bracket for holding a card catalog rod. The rod is missing so that one can look into the hole to see the internal locking mechanism.

I’ll have to do some more in-depth research of old Gaylord Bros. catalogs, but based on materials, manufacture, and style, I’m going to guess that the older portion of the card catalog dates from the mid-30s to the 1940s, while the newer section is likely late 60s. The overall size and standardized, modular structure allows the pieces to sit together in quite a clever way and were made over a long enough period of time that different pieces from disparate decades still work well together. While the wood grain, stain, and even fittings are all slightly different, the to different styles work fairly well together.

For those who appreciated my recent article Market analysis of library card catalogs in 2023, I’m thrilled to report that I purchased this stunning beauty—one of the prettiest, oldest, and best conditioned catalogs I’ve seen listed—for a very reasonable $250. I suspect the seller, who is a vintage collector, seasoned eBay seller, and is well aware of the market, may have gone even lower, but I was happy to overpay a little. Given the online market, something like this would usually list for between $1,200 and $1,600, but would likely sit unsold and unloved for years.

Library card cabinet drawer with a metal drawer pull labeled with a tiny red heart

I love the style and the condition, and it does make for a fantastic little piece of fine furniture with a lovely patina. Unexpectedly, someone else in the house may be even more enamored of it than I, which bodes well for its actual long term care and use. Currently it will serve as an archive storage for some of my 3 x 5″ index card note collection in addition to storage of a partial library card cataloging for some of our physical books. I also have cards from an older rolodex and a small recipe collection that will take up residence. Other empty drawers will house a small wine selection along with several bottles of scotch until they’re pushed out by the growing collection of cards. 

Oblique angle of a bottle of Glenmorangie scotch and two crystal old fashioned glasses in open adjoining drawers of a library card catalog
Surely this is what Hemingway would have done?!

Angle on a row of five library card catalog drawers open with bottles of wine displayed in each.

Other than general maintenance I don’t think I’ll be doing any other restoration work on it beyond the small fixes I’ve already made.

On the top of the catalog, in addition to space for writing notes, I’ll keep one of my two desktop card indexes and a 1948 Smith-Corona Clipper

Close up of Gaylord Bros. library card catalog with a smaller desktop card index and black Smith-Corona Clipper typewriter on top

What would you do with a library card catalog?

Acquired BOOX Tab Ultra C (The Official BOOX Store)
Latest Kaleido3 screen, HD and clear ePaper, Android 11, an exclusive GPU, and a Qualcomm processor. Tab Ultra C is an ePaper tablet PC designed to strike a balance between focus and enjoyment.
Ordered this a few weeks back and it finally arrived today. Can’t wait to delve into how this may help improve my reading and note taking process.

Review of King Jim A6 size horizontal Flatty Works case #5460 🗃️

Back on April 7th on a visit to the Kinokuniya bookstore/Maido stationery shop in the Santa Anita Mall, I picked up an A6 size horizontal Flatty Works case (forest green, H4.8×W6.8×D1.4in) made by King Jim. It was listed at US$20.50+tax. The case is also available in mustard yellow, beige, teal, and a dark blue.

It’s a nice little minimalist case made with a very lightly parafin-waxed cotton canvas material and a clear plastic front so that one can see the internal contents. The sides of the flexible case fold in accordion-style when not full so it collapses to fit the space it needs. In addition to the primary internal space, the case has a thin internal pocket that would accommodate some credit cards, a handful of 4 x 6 index cards, or perhaps a Field Notes pocket notebook. Similarly on the outside back, there’s an angularly cut external pocket for a few slips of paper, or to place the cover of your A6 notebook while writing. The front has an envelope-style closure flap with a reasonably strong magnetic snap. 

I purchased the case primarily to carry my 4 x 6 inch index card “notebooks” as well as a variety of loose index cards and dividers I carry regularly. It has the benefit of going reasonably well with my collection of Lochby waxed canvas holders and covers as well. I usually keep a copy of today’s schedule and priority to do list on top of the interior pocket so they’re easily visible during the day through the clear plastic front of the case.

For the curious, I’ve tried them variously and can verify that the case also comfortably fits the following (separately):

  • A Samsung S22 cell phone and a few Field Note notebooks
  • An Amazon Kindle Paperwhite and a pack of 100 4 x 6 index cards
  • A reasonably thick A6 sized notebook along with some additional pens or simple office supplies. A small Hobonichi would easily fit with space to spare.

The case is small enough to comfortably fit into the back pocket of my blue jeans, for walking around, but it’s not super comfortable for sitting on that way, particularly for long periods. I like its portability and the ability to take out a few cards and work on them using the reverse side as a mini-desk while moving around throughout the day. In some sense it acts like a custom made folder for filing my index cards on the go as a everyday carry. It made for a reasonably comfortable mini-office while on an airplane last week.

The inside top left corner of the case has a small loop that would allow one to attach a string, key chain, carrying handle or other loop to attach the case to a purse or other bag if necessary. This might also be convenient for those who might want to use this case as a bag in a bag, though I’ve not personally had the need for it yet.

Even with only a few index cards inside, the case is easily capable of standing upright in front of my card index/zettelkasten on my desk to take up less space than lying flat. Doing this also keeps all my immediate cards easily accessible while also being ready to travel if necessary.

Thus far, after a few weeks of use and even some airplane travel, it’s shown itself to be sturdy, convenient, useful, and a lovely addition to my daily zettelkasten workflow.

1948 Smith-Corona “Clipper”

Childhood Typewriters

I’ve had a hollow space in my chest where a typewriter wanted to be. I’d had a few inexpensive plastic ones in my childhood before having a really spectacular Smith-Corona, but I thought that through many moves it had been long lost. Until, that is, I visited my parents on spring break this past week. While going through some old papers and boxes, I ran across a dusty, but stunning old jewel from my youth. 

Hiding in a corner of memorabilia was a hard black box which I immediately recognized as my old portable typewriter! I recall my parents having purchased it at a yard sale and bringing it home for us kids to use in 1984. It took a while back then to clean it up, but I used it for a variety of school projects and papers for several years until its use for school papers was later taken over by an electronic Panasonic word processor. Despite the newer technology I still preferred that old typewriter for composing and noodling around.

Ooh, my little pretty one, my pretty one

So, what is this fantastic jewel? It’s a 1948 Smith-Corona “Clipper” 4C (serial number 4C-242370). It’s still in spectacular shape. I had to re-connect the letter “A”s linkage joint, but all the keys still work well, and it’s going to need a new ribbon. The interior is a bit dusty and needs some cleaning, but a short afternoon of tinkering should make quick work of any issues. 

Oblique angle down on the top of a black Smith-Corona Clipper sitting on a brown wooden tabletop.

What’s fascinating is that all of the parts and functionalities of the machine came back to me instantaneously when I touched it. I knew all the small subtleties of sliding in a sheet of paper and aligning it to perfection. All the small niceties like the single/double space switch, the margin adjustments, the lovely bell, the ribbon direction adjustment switch, and even the centering mechanism were right there at my fingertips.

Rear view angle of the carriage return on the Smith-Corona Clipper with a view into the internals featuring the bell. The apparatus could be cleaner and features some use and dust build up on the oiled metal.

Sadly the original key wasn’t with the typewriter’s lock, but it was easily pickable. I’m reasonably sure the key will turn up as I dig through my other childhood memorabilia in the near future. At the worst, I can probably print a new key using a recipe I’ve already found online. I even unearthed a roughly contemporaneous typewriter manual for the Smith-Corona Clipper model

And the best part is that a young 12 year old was drawn to it and immediately wanted to use it and take it home with us, so the typewriter obsession may go on for at least another generation.

I can’t wait to begin using my new (old) tool for thought in my zettelkasten practice. I’m curious to see what the slow down effect of a manual typewriter has on my writing and thinking work. Perhaps the composition of my cards at the end of the day will have the added satisfaction of punching the keys of a fantastic typewriter.

Typed 3 x 5 inch index card. The top title in red ink reads "The Power of Information" with the following quotation: 
No piece of information is superior to any other. Power lies in having them all on file and then finding the connections. There are always connections; you have only to want to find them. --- Umberto Eco, Foucault's Pendulum

If nothing else, the Clipper does look quite nice next to my Shaw-Walker card index which is from the same era.

Desk level view of the front of a Shaw-Walker wooden card index tray next to a black typewriter.

Ultra-luxury of the “Clipper”

Just where does the Smith-Corona “Clipper” sit in the pantheon of typewriters? A variety of writers in the 21st century still talk about their love and nostalgia of specific typewriters mentioning the design esthetic of the Olivetti, a remembrance of an old Underwood, or their fondness of a Remington, but I think Tom Hanks sums things up pretty well:

This is what I would suggest: if you wanted the perfect typewriter that will last forever that would be a great conversation piece, I’d say get the Smith-Corona Clipper. That will be as satisfying a typing experience as you will ever have.
—Tom Hanks, actor, producer, typewriter enthusiast and collector, author of Uncommon Type on CBS Sunday Morning: “Tom Hanks, Typewriter Enthusiast” [00:07:30]

Close up of the Clipper logo on a Smith-Corona typewriter. It features a red outline of the small single wing, four engine airplane with the word "Clipper" underneath it  underlined with red waves so as to make the plane appear to be flying over water.

Of course Hanks comes by this analysis naturally as the Clipper typewriter’s namesake is the Boeing 314 Clipper, which appears prominently on the front left panel of the typewriter’s cover. The context and history of some of this airplane have been lost to current generations. Twelve of these air yachts were built by Boeing and operated for a decade between 1938 and 1948. Nine of the airplanes were operated by Pan-Am as transoceanic “one class” ultra-luxury air travel featuring lounges, dining areas with silver service for six-course meals from four-star chefs served by white coated stewards, seats that converted to sleeping bunks for overnight accommodations, and separate male and female dressing rooms for the comfort of elite businesspeople and wealthy travelers in the mid-twentieth century. As an indicator of the exclusivity and expense at the time, a one-way ticket from San Francisco to Hong Kong on the Clipper was listed for $760, which is equivalent to about $15,000 adjusted for inflation in 2021 (Klaás, 1989, p. 20).

Pan Am’s Clipper service of the 1940s represents the romance of flight in that era in the same way Smith-Corona Clipper represents the romance of typing in the ensuing decades. Most Americans’ nostalgia for the luxury and exotic freedom of airline flight in the 1960s and 1970s was built on this early experience operating the Clipper nearly 20 years before.

Reverse view into the opened Smith-Corona Clipper featuring a close up view of all of the type face and levers. Just visible at the top are a side view of the keys on the front of the typewriter.

Typeface sample

Library card catalog card with the typewriter's year, make, model, serial number and samples of all the slugs and the pangram sentences "the quick brown fox jumps over the lazy dog." and "A VERY BAD QUACK MIGHT JINX ZIPPY FOWLS."

 

References

“Tom Hanks, Typewriter Enthusiast.” CBS News Sunday Morning. CBS, October 15, 2017. https://www.youtube.com/watch?v=UTtDb73NkNM.

Klaás, M. D. (December 1989). “Clipper Across the Pacific, Part One”. Air Classics. 25 (12).

A fascinating combination of office furniture types in 1906! 

1906 Advertisement for a combination card index table and telephone stand featuring a desk with the satellite combination table next to it.

The Adjustable Table Company of Grand Rapids, Michigan manufactured a combination table for both telephones and index cards. It was designed as an accessory to be stood next to one’s desk to accommodate a telephone at the beginning of the telephone era and also served as storage for one’s card index.

Given the broad business-based use of the card index at the time and the newness of the telephone, this piece of furniture likely was not designed as an early proto-rolodex, though it certainly could have been (and very well may have likely been) used as such in practice.

Rules against quotes in Zettelkasten? A closer look at Ahrens on Quotes and Collecting

I’ve seen several places in the note taking or zettelkasten communities the general advice that one should not include quotes in or amongst their notes. The general source of this “rule” seems to stem from Sonke Ahrens’ book Smart Notes. However, suggesting that Ahrens has a “rule” against quotes is a dramatic misreading of his intent. I imagine that this potentially stems from someone reading and excerpting his intent incorrectly and then others passing it along indiscriminately in the dreadful litany of one-page blogposts about how one should keep a zettelkasten.

The word “quote” (or close variations like “quotes” and “quotation(s)”) only appear 19 times in the first edition of Ahrens’ book.

In most of the contexts which have what one might call an “anti-quote” connotation, he’s directly recommending against the practice of indiscriminate highlighting/excerpting and collecting of general quotes specifically because they don’t aid in creating understanding by the reader. Instead he repeatedly recommends that one internalize the information by rewriting it in their own words instead. This helps the reader to better understand and know what the author is trying to convey. This also allows the reader to have material in their collection already written in their own words for later reuse.

Talking about “literature notes” Ahrens writes:

He did not just copy ideas or quotes from the texts he [Luhmann] read, but made a transition from one context to another.

Be extra selective with quotes – don’t copy them to skip the step of really understanding what they mean. Keep these notes together with the bibliographic details in one place – your reference system.

Places where quote appears in a context which argues against indiscriminate collection of quotes:

A typical mistake is made by many diligent students who are adhering to the advice to keep a scientific journal. A friend of mine does not let any idea, interesting finding or quote he stumbles upon dwindle away and writes everything down.

As well, the mere copying of quotes almost always changes their meaning by stripping them out of context, even though the words aren’t changed. This is a common beginner mistake, which can only lead to a patchwork of ideas, but never a coherent thought.

It is so much easier to develop an interesting text from a lively discussion with a lot of pros and cons than from a collection of one-sided notes and seemingly fitting quotes

Even doctoral students sometimes just collect de-contextualised quotes from a text – probably the worst possible approach to research imaginable.

It is not surprising, therefore, that Lonka recommends what Luhmann recommends: Writing brief accounts on the main ideas of a text instead of collecting quotes.

Now let’s take a quick look at some of Ahrens’ “pro quote” passages which provide the opposite view of when and where quotes can be useful:

The available books fall roughly into two categories. The first teaches the formal requirements: style, structure or how to quote correctly.

It would certainly make things a lot easier if you already had everything you need right in front of you: The ideas, the arguments, the quotes, long developed passages, complete with bibliography and references.

You follow up on a footnote, go back to research and might add a fitting quote to one of your papers in the making.

In this textual infrastructure, this so-often taught workflow, it indeed does not make much sense to rewrite these notes and put them into a box, only to take them out again later when a certain quote or reference is needed during writing and thinking.

How is one to have useful/impactful/fitting/necessary quotes at hand if they haven’t excerpted them as they read? In these portions he is actively suggesting that quotes from one’s reading in their notes can be a good thing and can help in making persuasive arguments. The secret is that they need to be done judiciously. One needs to be able to quote in a manner which keeps the original context and argument, but which can also fit into your current context and provide support or further argumentation.

As an example of terrible decontextualization, who hasn’t attended a wedding that featured a reading of 1 Corinthians 13? The passage seems wholly appropriate for a church wedding reading, but when you consider that it’s excerpted out of context you might reconsider using it at your own wedding. Go back and try reading it in light of being sandwiched between Corinthians 12 and 14 and you’ll change your mind that chapter 13 is about the sort of romantic love and implied by a wedding. Once you’ve done this, there’s added comedic subtext to scenes like the following from Wedding Crashers (New Line Cinema, 2005):

Father O’Neil: And now for our second reading I’d like to ask the bride’s sister Gloria up to the lectern.
John Beckwith: 20 bucks First Corinthians.
Jeremy Grey: Double or nothing Colossians 3:12.
Gloria Cleary: And now a reading from Paul’s first letter to the Corinthians.

To prevent embarrassment of this sort, perhaps when you’re quoting a source directly you ought to provide at least a short note about the context in which the words were provided?

Any good rhetorician will tell you that quoting works in your writing can be incredibly helpful in building context and creating authority.

If anything, Ahrens’ book is missing a section on “how to quote correctly”, and this is a stumbling block of his text. As a quick remedy, one could read a bit of Seneca perhaps?

“We should follow, men say, the example of the bees, who flit about and cull the flowers that are suitable for producing honey, and then arrange and assort in their cells all that they have brought in; these bees, as our Vergil says: ‘pack close the flowering honey And swell their cells with nectar sweet.’”
—Seneca in 84th letter to Luculius (“On Gathering Ideas”), Epistles 66-92. With an English translation by Richard G. Gummere. Cambridge, MA: Harvard University Press (Loeb Classical Library, 2006), 277-285.

Beyond just Ahrens there are several thousands of years of prior art seen in the commonplace book tradition where quotes feature not only prominently but at times almost exclusively. Quotes, particularly sententiae, are some of the most excerpted and transmitted bits of knowledge in the entire Western canon. Without quotes, the entire tradition of excerpting and note taking might not exist.

Of course properly quoting is a sub-art in and of itself within rhetoric and the ars excerpendi.

Fellow note taking writer Umberto Eco warns against this same sort of indiscriminate collecting without actively making the knowledge your own. In How to Write a Thesis (MIT Press, 2015, p125), instead of railing against indiscriminate highlighting, or digital cutting and pasting, Eco talks about another sort of technological collection tool more rampant in the 1990s and early 2000s which facilitated this sort of pattern: the photocopier.

Beware the “alibi of photocopies”! Photocopies are indispensable instruments. They allow you to keep with you a text you have already read in the library, and to take home a text you have not read yet. But a set of photocopies can become an alibi. A student makes hundreds of pages of photocopies and takes them home, and the manual labor he exercises in doing so gives him the impression that he possesses the work. Owning the photocopies exempts the student from actually reading them. This sort of vertigo of accumulation, a neocapitalism of information, happens to many. Defend yourself from this trap: as soon as you have the photocopy, read it and annotate it immediately. If you are not in a great hurry, do not photocopy something new before you own (that is, before you have read and annotated) the previous set of photocopies. There are many things that I do not know because I photocopied a text and then relaxed as if I had read it.

Many people may highlight, tag, or collect a variety of quotes within a text, but this activity is only a simulacrum of understanding and knowledge acquisition. This pattern can be particularly egregious in digital contexts where cutting and pasting has be come even easier and simpler than using a photocopier.  Writing it down and summarizing important ideas in your own words will actively help you on your way to ownership of the material you’re consuming.

A zettelkasten with no quotes—by definition—shouldn’t carry the name. So let’s lay to rest that dreadful idea that quotes aren’t allowed in a zettelkasten.

And if you’re just starting out on your zettelkasten or commonplace book journey and don’t know where to begin, I’ve recommended before writing down the following apropos quote and continuing from there:

No piece of information is superior to any other. Power lies in having them all on file and then finding the connections. There are always connections; you have only to want to find them.
—Umberto Eco, Foucault’s Pendulum (Secker & Warburg)

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