TYPEWRITERS ∩ BOATS

The intersection of a Venn Diagram that contains the sets "TYPEWRITERS" and "BOATS" would contain the following images:

By way of Rob

Behind the Iron Curtain

“I would erect a monument to the typewriter …” Soviet dissident Vladimir Bukovsky

Vaclav Havel,
architect of Charter 77

The often mysterious world of Czechoslovakian typewriters has been covered by Will Davis in ETCetera No. 79. As Will said in the introduction to that story, little is known about Zbrojovka Brno's typewriter endeavors–even with the benefit of the Internet. Language is an obvious gulf, but without a collector in former Czechoslovakia I think that the typewriter side of the Consul story will remain a mystery. 

But digging and searching did reveal some interesting things about typewriters and Czechoslovakia. The story takes us behind the Iron Curtain back all the way to 1977 where a group of Romanian academics, artists, and politically-minded young people drafted a document to protest the state-ordered harassment of a Czech rock band called Plastic People of the Universe. The original charter, no doubt tapped out on state-made Consul typewriters, was a sign to the Communist leadership that Czechoslovakia was still a place where debate on the future of the country would take place. Any person that signed their name to the Charter 77 marked themselves for police harassment and intimidation. Future president of the Czech Republic Vaclav Havel was one of the signatories and went to prison for his beliefs. His Wife Olga would clandestinely type various Charter 77 documents and distribute them to member of the Communist opposition. 

 Illegal Czech samizdat

Communism created a typewriter culture in Czechoslovakia. While publication of books without approval through the state censors was forbidden, manuscripts, monographs, and short stories were not illegal per se. Obviously, if the content was anti-state and it became widely known that you were participating in seditious activities, you could be arrested. But if you hand-typed your work, bound it, and signed the front you were merely distributing a manuscript. It was a tenuous precaution against being accused of spreading unauthorized publications, but it worked. Thousands of publications of Czech samizdat (Russian for self-published) were typed and distributed in a network of underground manuscript-sharing.

The Typospherian in me loves that so much bad was undermined by the typewriter. In reality it could have just as easily been pens and pencils or Facebook and Twitter (as seen in the Arab Spring), but I am unwilling to let the typewriter miss the laurel because of a trick of time. 

The typewriter was the tool of revolution. But I would argue that typewriters are very often symbols of revolution–or at least of independent thought. If you read about the power that the typewriter had in countries like Czechoslovakia, Bukovsky's statement makes sense. So often Americans cite corruption in the Communist system, the prowess of Western markets, or Ronald Reagan as to why Communist countries went through political upheaval in the late 1980s. None of these things mattered. Cruel regimes exist regardless of political climates, economic conditions, or the beliefs of old men. The women and men who were the cause of change and the typewriter was their agent. So, it is more fitting than anything that the typewriter should receive the accolade as acolyte of revolution.

So, where does my little Consul come in? Probably nowhere. I am fairly certain it was intended for the American market. It is unremarkable as any other Consul 232.

This particular example, however, does have a very nice paint finish.

As portables go, it has some interesting features like this stop to prevent the carriage return lever from marring the body while in-transit.

It types nicely even if the top row of keys has an extreme angle compared to the bottom row. It's not noticeable in the pictures, but when you type you can feel it. 

To end my meander, I wonder what a monument to the typewriter would look like? Pillars and marble? Steel and concrete? No. The real monument to the power of the typewriter is everywhere. It's in the word of Charter 77, illegal student samizadt, even in Richard's Typewriter Insurgency.

Happy New Year

2012 proved to be a fantastic year for typewriters. I hope to do my small part in making 2013 another great typewriter year. I also wanted to take a moment and and thank all the people who have worked to make the CTP and my tiny corner of the Typosphere so rich. I could never have dreamed that this blog, the Typosphere, and the CTP were even possible.

Chip, Rona, and a Good Companion

I have a story to tell about Communists, New Zealand, and a clandestine typewriter. While I might be stepping on toes here, I think that the ever-gracious Mr. Messenger will allow me to dabble in some southern-hemisphere typewriter antics.

Sidney Holland

The distance of Australia and New Zealand from traditional markets made shipping a vital part of their economic growth. It’s no surprise, then that the New Zealand waterfront became the locus of working-condition conflict. During WWII, labor shortages required that dock workers take on longer shifts; upwards of 15 hours a day. Anger at the situation was brought before the Arbitration Court of New Zealand and workers who were involved in the arbitration system were awarded a 15% wage increase. This did not apply to dock workers because their employment was controlled by a different governmental organization. Instead dock workers were awarded a 9% wage increase and among the rank-and-file this was seen as a slight for the vital service they offered to Kiwis.

In retribution, the waterfront workers refused to work overtime. Employers locked them out.

The center-right First National Government, led by Sidney Holland, called in the Army and Navy in to work the docks. An election was called in 1951 in an effort to capitalize on the national disapproval of the dockworkers actions. Emergency Regulations were enacted that significantly curtailed civic liberties and criminalized material support to watersiders. These regulations also made it a crime to write anything in support of the movement.

Rona Bailey

This did not stop Chip Bailey and his wife Rona Bailey from breaking the law and secretly writing pamphlets and articles in support of the watersiders.

Bailey and his wife were well-known in the New Zealand labor movement. Rona has been described as the ‘high priestess’ of Kiwi communism by a later New Zealand Prime Minister Robert Muldoon. Chip was an ardent supporter of labor and—for a while—was purged from the party’s roll because he followed his own beliefs.

These two were not about to follow Holland’s dictum. They were going to fight for what they thought was right.

The Bailey Imperial at The Museum of New Zealand

It was on an Imperial Good Companion that the Baileys would write their pamphlets and political pieces. The couple were responsible for most of the illegal pro-union writing circulated around Wellington, their hometown. Often they would have to deliver these papers in the dead of night so as to not be caught.

Craftily hiding the unlicensed typewriter somewhere in their flat (history is mum on the location), they avoided being caught until the Gestetner mimeograph they were using to make duplicates was discovered in a police raid. They were fined 15 pounds for the possession of an unregistered printing machine. This would have been about ½ a week’s salary in 1950s New Zealand.

Chip Bailey

The Bailey’s weapon in the battle for labor rights was an Imperial Good Companion.

Chip passed away early in the 1960s. Rona continued to fight for her beliefs until she passed in 2005. However, Rona's later activism was less typewriter-centric. She used her love of dance as a way to fight for human rights. She was particularly active in anti-Apartheid movements.

The Good Companion, made by Leicester firm Imperial, was an immensely popular machine and I could go on and on about them, but Robert has already covered this ground which I suggest you read.

Typewriters often play an important role in political struggles. Ideas can change history, but ideas and typewriters can really get things going. 

Happy Holidays

Brother Valiant

I put in a low bid thinking that if I did win this typewriter and it turned out to be trash, at least I would have some parts for other Brothers and I would be helping out a good cause.

I was shocked when I won with my $9 bid. I was even more shocked when it was delivered.

The paper support arm is fantastic!

There is nothing to dislike about this Brother.

It's in fantastic shape.

And it even has an instruction booklet with a very interesting cover.

So easy to use that there is only one instruction!

The previous owner must have gone to Hobart because...well...

It types beautifully. So, for a lark it turned out very well. I needn;t go into great length about Brother, because our faithful typewriter reporter, Robert Messenger, has gone in-depth just for you. Click on the Brother.

57% Typewriters

In addition to my duties teaching English, I am also the Newspaper and Yearbook adviser. It is my job to make sure that the budding journalists of Alhambra work hard and get the news out. We have just finished with our second edition (No. 2) of the school newspaper, the Scimitar. 

Getting a school newspaper out is not easy. Keeping teens focused on what is newsworthy and what is just junk takes some deftness. Also, our news cycle is a month long. That makes some of our stories a little old by press time, but the experience of working on a paper newspaper is one that they won't have anywhere else. Last year's editor is now at the Cronkite School at Arizona State University working on her journalism degree.

As proud as I am of my students for putting together such a great edition, I am also proud to say that over 1/2 of the stories in this newspaper began as drafts written on a typewriter. They have been edited and edited again digitally, but they began as typewritten stories. Anyway, if you are interested in a copy, send your address to adney@phoenixunion.org and I'll pop a free copy in the mail.

I know that no one in the Typosphere is opposed to a paper newspaper, but every once and a while a colleague says, "You should just put that on-line. It's so much easier." That makes me cringe. If it was so easy to do the New York Times would have just gone all digital. For some markets all-digital makes sense, but for my market it does not. We are a small monthly with a circulation of 1000. The adviser before me tried to do an on-line only newspaper and that went over like a lead balloon. No one read the on-line newspaper because it was on-line. So, as long as I am the adviser, we will have a paper newspaper.