NYPD typewriters

Remember the All in the Family episode in which Archie unwittingly insults a police officer and is made to wait while the slowest typist in the precinct pecks out a report? Typewriters are still in use in the NYPD:

New York Police Department officials said the city is spending nearly $1 million to purchase and maintain typewriters for the police force.

City officials signed a $982,269 contract last year with New Jersey typewriter manufacturer Swintec for the purchase of manual and electric typewriters during the next three years and last month the city inked a $99,570 deal with New York's Afax Business Machines for maintenance on the typing machines, the New York Post reported Monday.

NYPD sources said the vast majority of the typewriters are for use by police.

Most of the city's arrest forms have been computerized, but property and evidence vouchers printed on carbon-paper forms still require the use of typewriters.

Carbon-paper forms!

The Swintec site is worth a look. No carbon-paper forms for sale, but you will find clear typewriters ("especially designed for inmate use") and a $1678 Word Processing System that boasts "60K Large Working Memory" and "Unlimited Document Storage on 3 1/2" Floppy Disks."

André Gregory tells a story

It concerns Jean Lenauer, who played the waiter in My Dinner with André (1981). "Louis" is Louis Malle, the film's director. "Wally" is Wallace Shawn.

The first day of shooting, Louis wanted to fire him, because of course he wasn't a waiter [laughs], so he didn't know what to do with the serving of stuff. So Wally and I, who grew up on the upper East Side [laughs], been to these restaurants, we stayed up all night with Jean, coaching him on being a waiter.

And he was amazing. In fact, Wally and I were coming from a rehearsal, I think of The Master Builder, a couple of years ago, and this guy ran up to Wally and said "My Dinner with André! I've seen it eight times! What an amazing movie! You were great! God, I love" — you know. And Wally after a while said, "I suppose you know my friend." And he looked at me and said, "I don't think so." And I said, "I was the other guy." And he said, "Oh." And he went back to talking with Wally and then shook his hands and went off down the street, and then he came running back, and he grabbed me by the arm. He said, "I'm so sorry — you were the waiter. I didn't recognize you." [Laughs.]

André Gregory tells this story to filmmaker Noah Baumbach in a video interview included in the Criterion Collection edition of My Dinner with André. A thousand thanks to Criterion for giving this film the digital transfer and DVD edition it deserves.

A related post
"Nil admirari in stone, the waiter"

REHC SÈRT SAP

In today's Hi and Lois, Hi and Lois seem to be preparing to drink themselves under the table (or sous la table — it's a French restaurant), in which case they will find themselves on a pink floor. Note that Lois, sober, cannot tell a cap from a cork.

But what really caught my eye in today's strip is the lettering on the window. It's ETATSE LAER all over again.

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Pre-Socratic fragment

[Pencil on cardboard.]

"Of practical wisdom these are the three fruits: to deliberate well, to speak to the point, to do what is right."

My son Ben (philosophy major) left this bit of Democritus on our kitchen countertop not long ago.

(Thanks, Ben!)

"Secrets of the Post Office"

Dave Gathman wondered how the mail works:

Every time I dropped a letter into a mailbox (usually a bill payment that had to get there fast, or my interest rate would shoot up to 33 percent), questions lingered. Would the letter get there just as fast if I mail it at the corner "blue box" as it would if I mailed it at the post office? Would a letter mailed in the little Hampshire post office arrive as soon as one mailed in downtown Elgin? Is it true, as someone once told my mother-in-law, that "mail doesn't move on weekends?"

So we did some experimenting.

Read all about it:

Secrets of the Post Office (Elgin Courier News)

So gangsta

From a Flickr photoset by Quinn Dombrowski:

University of Chicago: Library Graffiti

[Photograph licensed under a Creative Commons License.]

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Graffiti (in Hyde Park)

Joyeux anniversaire, M. Proust

"His demeanor is both proud and slightly confused, as he squints against the bright sunlight."

William C. Carter, Marcel Proust: A Life (New Haven: Yale University Press, 2000), 753.

[Marcel Proust, photographed April 21, 1921.]

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Ernest Forssgren, Proust's Swedish valet

William C. Carter, ed., The Memoirs of Ernest A. Forssgren, Proust's Swedish Valet. New Haven: Yale University Press, 2006. $50.

This story constitutes a small part from the life of a sad, embittered old man who wasted his life, who lives ONLY by virtue of a still vigorous sense of HUMOR.

Ernest A. Forssgren, in the epilogue to his memoir

It has been a strange pleasure to read this bit of Proustiana. Ernest Forssgren was with Marcel Proust briefly in 1914 and 1915, before leaving France for the United States. His memoir, "The Mysterious Visit," ninety-three double-spaced typed pages, written in English in 1965, draws its title from a failed attempt to arrange a last meeting with Proust in 1922.

Forssgren does nothing to reveal Proust's character or working habits, but he does reveal his own character — curmudgeonly, misanthropic, obsessive, resentful, and a bit cracked, a combination of Henry Darger and Charles Kinbote. Running through the memoir is Forssgren's hatred of England, its people, its language, and that language's spelling. These matters form the stuff of purported conversations between the author and just about anyone he meets, including, yes, Proust. Here is an excerpt from a conversation between Proust and Forssgren:

"That charming little story you wrote about you and your sister getting lost in the woods, picking berries, the thunderstorm that frightened you, and you saving your sister from drowning — it is such a charming little story I would like to have it published. When you wrote it did you have to consult the La Rousse [Larousse] (dictionary) for the spelling? I noticed that it was perfect."

"No, I did not. That is the great advantage of the Latin languages; after you have learned all the rules thoroughly, you need never consult a dictionary, like you constantly have to do with the idiotic English spelling. Once you have learned the orthography of a Latin language and its grammatical rules you have no need of a dictionary. As for the English language, it reflects the character and nature of its people. Like the French reflects a refined, cultured and artistic people. It is said that language reflects a nation's psyche, its soul and character. English reflects a conservative nation reluctant of change, and though the language like all languages has gone through changes, the English have been slow in following up with reform in spelling. As an example, the obsolete GH was the Saxon's equivalent of the German CH, but was eventually slurred over and dropped, but the spelling retained. The Scotch humorous, 'it is a brah bright moonlight night tonight' is an example of the correct spelling and the original punctuation."

"Where did you learn all that"? MP asked.

"At Prince Orloff's I came across a volume dealing with the origin of language. I looked it over rather superficially. I am not too well versed, but I shall take it up again in connection with my further studies."

Carter's reality-based corrections and notes form an amusing counterpoint to Forssgren's errors and fanciful tales. Here, for instance, Carter corrects "La Rousse," points out Forssgren's habit of misspelling French words, notes the absence of any evidence that Proust took an interest in Forssgren's writing, and comments on Proust's use of French dictionaries and his translations of John Ruskin. "A conversation about English versus French with Proust would have been quite different from the one Forssgren relates," says Carter, dryly.

Elsewhere, Forssgren undertakes an extraordinary digression to present his proposal for spelling reform, "THE AMERICAN STANDARD PHONETIC ALPHABET," "a purfekt soluuqun ty xu speling problem." Sae wut?

This memoir though has a less comic aspect. Troubled by the presentation of Proust's sexuality in George Painter's two-volume biography, Forssgren, himself homosexual, evidently feared outing by association. Painter's biography doesn't mention Forssgren, and according to Carter, Painter didn't even know about Proust's Swedish valet. Still, Forssgren wrote to set his story straight, as it were, denying any knowledge of Proust's sexuality, claiming never to have read Proust's work, and presenting scenes in which private moments with his employer are consistently interrupted when housekeeper Céleste Albaret barges in. "See? Nothing could have happened," Forssgren seems to be saying.

But Albaret says in her memoir Monsieur Proust that she never went into Proust's bedroom unbidden: that was an absolute rule of the household. And there's reason (in the form of a letter from Proust to Reynaldo Hahn) to think that something did happen between Proust and his valet. As Carter asks, "Was Proust falling in love with Forssgren or did he simply desire him?" That question adds a genuinely mysterious and poignant overtone to this curious memoir.

Yes, it's an expensive book. Thank you, ILL (interlibrary loan).

Related reading
All Proust posts (Pinboard)

And then there were four

"There are only four outdoor phone booths left in Manhattan — and they're all on West End Avenue. That's it: four."

(via Daring Fireball)

Charles Dickens on print and printers

A note in Edgar Rosenberg's Norton Critical Edition of Great Expectations led me to look up Charles Dickens's address to an anniversary meeting of the Printers' Pension Society, April 6, 1864. Dickens begins:

I do not know whether my feelings are exceptional, but I have a distinct recollection (in my early days at school, when under the dominion of an old lady, who to my mind ruled the world with the birch) of feeling an intense disgust with printers and printing. I thought the letters were printed and sent there to plague me, and I looked upon the printer as my enemy. When I was taught to say my prayers I was told to pray for my enemies, and I distinctly remember praying especially for the printer as my greatest enemy. I never now see a row of large, black, fat, staring Roman capitals, but this reminiscence rises up before me. . . .

But this feeling of dislike to the printer altogether disappeared from the time I saw my own name in print. I now feel gratified at looking at the jolly letter O, the crooked S, with its full benevolent turns, the curious G, and the Q with its comical tail, that first awoke in me a sense of the humourous. The printer and myself are, and have been for some time, inseparable companions.

Dickens closes by paying tribute to the printer's role in "press[ing] the tyrants and humbugs off the face of the earth":

The printer is the friend of intelligence, of thought; he is the friend of liberty, of freedom, of law; indeed, the printer is the friend of every man who is the friend of order; the friend of every man who can read. Of all inventions, of all the discoveries in science or art, of all the great results in the wonderful progress of mechanical energy and skill, the printer is the only product of civilization necessary to the existence of free man.

The Speeches of Charles Dickens, ed. K.J. Fielding (Oxford: Oxford University Press, 1960), 323–324, 325, 325.

Founded in 1827, the Printers' Pension Society was supporting seventy-six pensioners in 1864. Dickens earlier addressed the Society in 1843.