On word processing and writing habits

The Atlantic‘s Robinson Meyer contributed a piece on “How to Write a History of Writing Software,” subtitled “Isaac Asimov, John Updike, and John Hersey changed their writing habits to adapt to word processors, according to the first literary historian of the technology.” Meyer interviewed University of Maryland English professor Matthew Kirschenbaum, who has just published the first book-length history of word processing, Track Changes.

“It is more than a history of high art. Kirschenbaum follows how writers of popular and genre fiction adopted the technology long before vaunted novelists did. He determines how their writing habits and financial powers changed once they moved from typewriter to computing. And he details the unsettled ways that the computer first entered the home. (When he first bought a computer, for example, the science-fiction legend Isaac Asimov wasn’t sure whether it should go in the living room or the study.)

381b75cb92d30e801cc36925695d80ef“His new history joins a much larger body of scholarship about other modern writing technologies—specifically, typewriters. For instance, scholars confidently believe that the first book ever written with a typewriter was Life on the Mississippi, by Mark Twain. They have conducted typographical forensics to identify precisely how T.S. Elioit’s The Wasteland was composed—which typewriters were used, and when. And they have collected certain important machines for their archives.”

Kirschenbaum says that while he can’t say for certain which writer was first to compose using a word processor or computer, notable candidates are science-fiction author Jerry Pournelle and author John Hersey, who edited Hiroshima on a keyboard and used to computer to generate camera-ready copy.

“Another interesting story that’s in the book is about John Updike, who gets a Wang word processor at about the time Stephen King does, in the early 1980s. I was able to inspect the last typewriter ribbon that he used in the last typewriter he owned. A collector who had the original typewriter was kind enough to lend it to me. And you can read the text back off that typewriter ribbon—and you can’t make this stuff up, this is why it’s so wonderful to be able to write history—the last thing that Updike writes with the typewriter is a note to his secretary telling her that he won’t need her typing services because he now has a word processor.”

Pictured: Stock photo of typical Wang word processor from the 1980s.

 

John Updike, Accidental Conservative?

Screen Shot 2016-04-17 at 9.00.17 PMEchoing a critical essay that Society member Yoav Fromer wrote, Con Chapman explores the circumstances surrounding Updike’s hawkish Vietnam War stance in “John Updike, Accidental Conservative,” posted April 12, 2016 on Easy Street: a magazine of books and culture. He also provides additional context.

The Times, in a particularly dishonest bit of sleight-of-hand, said that Updike was the lone American writer in the collection [Authors Take Sides on Vietnam] who was ‘unequivocally for’ the United States intervention in Vietnam. This was untrue; novelist James Michener, who had spent much time in Asia, was more forthright in his defense of the American presence there than Updike….”

Ironically, as Chapman notes of Updike, “Had he not been summering on Martha’s Vineyard he would have been busy, he recalled later, and probably wouldn’t have answered the query, which was designed to elicit responses that could be assembled into a book of the sort that had been put together three decades earlier from writers’ reactions to the Spanish Civil War.

“Instead, he composed a thoughtful response that considered both sides of the question; he was, he wrote, uncomfortable about what he called America’s ‘military adventure’ in South Vietnam, but he doubted that the Viet Cong, who used force to rule the peasants of the country, had a ‘moral edge’ over the United States. He said the country needed free elections, and if they chose Communism the U.S. should leave, but until that time he did ‘not see that we can abdicate our burdensome position.'”

Chapman concludes, “In the long run, the controversy didn’t hurt Updike, who was unceasingly productive to the end of his life, but in the short run it cost him. Within a few months his tenure as a writer of unsigned ‘Talk of the Town’ pieces for The New Yorker ended when his editor objected to the tone of a piece that suggested, when Johnson announced that he would not run for re-election in 1968, that the President ‘might have been right after all.’ Updike acquiesced in a suggested revision, then decided to leave the column ‘to other, more leftish hands.’

“History has, of course, proven Updike right…,” Chapman concludes.

Great Writers at the End book includes Updike

VioletHourNew from The Dial Press is The Violet Hour: Great Writers at the End, by Katie Roiphe, who, as a New Republic review-article notes, “explores the final days of Susan Sontag, Sigmund Freud, John Updike, and other writers at the end.”

Of the book, William Giraldi writes, “Here is a critic in supreme control of her gifts, whose gift to us is the observant rigor that refuses to flinch before the Reaper.

“Each chapter, skillfully eliding overlap, constitutes a ‘biography backward, a whole life unfurling from a death.’ In the slow fade of her five writers—cancer came for Sontag, Freud, and Updike; a stroke felled Sendak; Thomas decimated himself exuberantly with drink—Roiphe finds ‘glimpses of bravery, of beauty . . . of truly terrible behavior, of creative bursts, of superb devotion, of glitteringly accurate self-knowledge, and of magnificent delusion.'”

“Roiphe flashes her richness of mind most intently on Updike,” Giraldi writes. “In Updike’s work, ‘one is struck not by the glittering seductions of the sharp, ambitious, sexually enthralling mistresses but by the deep, agonized love the husbands feel for the first wives.’ She commands a supercharged insight into Updike’s religio-sexual realm that many critics, female and male both, are too ideological or outright painterly to muster. . . .

“Whole swaths of Updike’s work are ‘about not submitting gratefully to that eternal sleep, cheating, tricking, denouncing it, protesting it, fixating on it; so much involves the hope for more than our animal walk, an afterlife, or, better yet, more life.’ His unkillable buoyancy of language, his style that pursued every contour and lineation of living: No other major American novelist has been so downright delighted by the tensile strength of English, no one else so wedded to the notion of writing as deliverance. . . .”

Here’s the full review-article. The book is now available for pre-order from Amazon.com.

Cancer Today spotlights Updike

Cancer Today, the publication of the American Association for Cancer Research, featured “A Storied Life” by writer Sue Rochman in the Winter 2015-16 issue, which is also available online. In it, Rochman details how “literary realist John Updike used the scaffold of his own life, including his lung cancer diagnosis, to explore the shared experiences of our time.”

Screen Shot 2016-03-02 at 9.43.10 PMShe writes, “Not only did he write in many forms, Updike wrote all the time, producing on average a book a year. That didn’t change after he was diagnosed with lung cancer in 2008. He spent the months before he died writing poems on facing mortality, many of which were published in his collection Endpoint and Other Poems.

Lung cancer, Rochman reports, “is divided into two main types: small cell, which makes up about 15 percent of all diagnoses and non-small cell, which accounts for about 85 percent.

“It’s not widely known what type of lung cancer Updike had. It is known that he began to have some breathing problems in the summer of 2008. The initial diagnosis was bronchitis. When the cough didn’t clear, he was told it was pneumonia, a diagnosis he described as ‘oblong ghosts, one paler than the other on the doctor’s viewing screen’ in a poem dated Nov. 6. Two weeks later, as Thanksgiving approached, Updike spent five days at Massachusetts General Hospital in Boston, undergoing the tests that led to his lung cancer diagnosis.

“A misdiagnosis of pneumonia is ‘unfortunately, a common scenario,’ says medical oncologist Joan Schiller, deputy director of the Harold C. Simmons Comprehensive Cancer Center at the University of Texas Southwestern Medical Center in Dallas. ‘Pneumonia is a heck of a lot more common than lung cancer, so it’s understandable that someone with a cough would be treated for pneumonia and then later find out it is lung cancer.’

“When people die so quickly from cancer, it is often assumed the disease spread quickly. That can and does happen, but another common reason for a late lung cancer diagnosis is that it can be hard to know it’s there. ‘One reason is that the lungs don’t have a lot of nerves, so it doesn’t cause pain—and you can’t see it,’ says Schiller. Still, she says, even for lung cancer, Updike’s two-month span from diagnosis to death was unusually quick.

“Updike’s cancer was treated with chemotherapy. Were he diagnosed today, says Gregory A. Masters, a medical oncologist specializing in lung cancer at Christiana Care’s Helen F. Graham Cancer Center in Newark, Delaware, he might have had more options.

“‘Instead of having everyone with stage IV lung cancer get the same chemotherapy,’ says Masters, ‘we now see if the patient has one or more of the specific gene alterations that allow us to use a targeted therapy. If they do, we can give them a treatment that is more effective, less toxic and that will control the tumor for more time.'”

Here’s the complete article, which also offers a career summary of Updike and his literary importance.

Angell book offers Updike insights

Screen Shot 2015-11-27 at 2.43.39 PMOn November 17, 2015, Doubleday published This Old Man: All in Pieces by Roger Angell (320pp., cloth, SRP $26.95), and Updike Society member Bruce Moyer says that the selected writings from the acclaimed New Yorker writer and editor include editorial notes for John Updike.

One of the reviewers at Amazon.com seconds the notion: “Personal observations such as the insight into John Updike are gems on their own.”

Amazon is currently selling the book in hardcover/cloth for $17.51, or 35 percent off list price.

David Updike on The Maples Stories

Screen Shot 2015-11-20 at 7.26.57 AMDavid Updike “shared the story of a summer in his life, as pieced together from various books written by his father, John,” Gerold Shelton wrote in a Dispatch-Argus story. Although his father drew heavily on his own life for his fiction, Updike told an audience at Augustana College that determining what’s real and what’s invented about his family’s past in The Maples Stories (first published in paperback as Too Far to Go) is difficult.

“I think it’s true in its essence,” he said, “but not in its details.”

Updike, who has had two short story collections of his own published, was quoted as saying that having a famous writer for a father meant that he could get his manuscript read right away. “I think it was helpful initially, but maybe a bit distracting later one. Overall, it has been a positive influence.”

LA Review of Books cites Updike journal, society

In a small comparative mention, Adam Kelly, writing about “E.L. Doctorow’s Postmodernist Style” for The Los Angeles Review of Books, observes that scholars have praised Doctorow’s fiction but notes a contradiction.

“Reading this stream of glowing praise, scholars of American literature might have stopped to ask themselves when it was that they last read an academic essay devoted to Doctorow’s fiction. The answer is likely to be: not recently. For if the MLA International Bibliography is to believed, only one monograph or essay collection on Doctorow has been published since the turn of the 21st century. Over that same period, a number of Doctorow’s generational contemporaries have received copious attention. There have been 13 books solely devoted to Thomas Pynchon, 14 on Philip Roth, 26 on Toni Morrison, nine on Don DeLillo, and 18 on Cormac McCarthy, as well as numerous other monographs and collections with one or more of these authors’ names in the title.”

“In addition, all of these novelists—born, like Doctorow, in the 1930s—have literary societies and (with the exception of DeLillo) academic journals devoted exclusively to their work. Thomas Pynchon has two such journals. Yet there is no E.L. Doctorow Society, no Doctorow Review or Doctorow Notes. Even a contemporary like John Updike, who one might expect to offer less theoretical interest than Doctorow, has merited seven recent monographs (actually, 13 since 2000), a literary society, and a scholarly journal.”

Even?

Here’s the full article.