When you control the mail you control information …
But just what this country’s Border Force have to fear from an envelope containing a postcard sent to me from Germany, I have no idea …
When you control the mail you control information …
But just what this country’s Border Force have to fear from an envelope containing a postcard sent to me from Germany, I have no idea …
Not the kind that protects your beloved machine from dust, the postal kind …
The LUBRAPEX — Luso-Brazilian Philately Exhibition — is a stamp exhibition in which only postal operators and collectors from Brazil and Portugal participate. Since 1992, Portuguese speaking countries and territories have also been taking part.
It is the oldest Bilateral Philatelic Exhibition in the world, having been conceived by Brazilian diplomat and philatelist João Paulo do Rio Branco, in order to promote the strengthening of friendly relations between postal operators and collectors from the countries involved.
Held for the first time in 1966, at the National Museum of Fine Arts in Rio de Janeiro, this event celebrated its 50th anniversary in 2016.
The five authors featured on the stamps and the cover above, form the basis for contemporary Dutch literature (2013):
Simon Carmiggelt (7 October 1913 – 30 November 1987) was a writer, newspaper columnist, and television personality.
Gerrit Kouwenaar (9 August 1923 – 4 September 2014) was a journalist, translator, poet and prose writer.
Louis Marie-Anne Couperus (10 June 1863 – 16 July 1923) was a novelist and poet.
Adriaan Roland Holst (23 May 1888 – 5 August 1976) was nicknamed the “Prince of Dutch Poets”.
Godfried Jan Arnold Bomans (2 March 1913 – 22 December 1971) was a popular author and television personality.
Max Rudolf Frisch (May 15, 1911 – April 4, 1991) was a Swiss playwright and novelist. But why commemorate the centenary of his birth with what looks like a late-model plastic (Japanese?) “Adler” portable typewriter?
Frankly, my dear, I don’t understand why this stamp was so damned hard to find …
It finally turned up on American eBay for a reasonable price. Issued on the 25th of February 2003, it’s a 37 Cent US Postage stamp featuring a segment of the script from Gone with the Wind, and is one of an “American Filmmaking: Behind the Scenes” series …
It qualifies as a typewriter-themed stamp in the same way that this Polish stamp does …
It’s a screenwriting stamp that failed to get a mention in The Margaret Mitchell Encyclopedia (by Anita Price Davis, McFarland 29 March 2013) …
The Margaret Mitchell stamp of 1986 (above) marked the 50th anniversary of the publication of her novel Gone With The Wind.
The Gone With The Wind (Movie) stamp (above) issued on March 23, 1990, in Hollywood, California.
Atlanta writer Margaret Mitchell (1900–1949) wrote Gone with the Wind (1936), one of the best-selling novels of all time. The Pulitzer Prize–winning novel was the basis of the 1939 film, the first movie to win more than five Academy Awards.
Margaret Mitchell did not publish another novel after Gone with the Wind. Supporting the troops during World War II, assisting African-American students financially, serving in the American Red Cross, selling stamps and bonds, and helping others—usually anonymously—consumed her.
The Margaret Mitchell Encyclopedia documents Mitchell’s work, her life, her impact on Atlanta, the city’s memorials to her, her residences, details of her death, information about her family, the establishment of the Margaret Mitchell House against great odds, and her relationships with the Daughters of the Confederacy and the Junior League.
To celebrate The Day of the Secretary 2017 let’s acknowledge the valuable contribution made by “office temps” past, present, and future.
Electronic typing systems were hardly a new concept back in 1986. Protype had serious competition …
It may be of some comfort for “bad secretaries” to know that Protype turned out to be a “temporary” phenomenon.
“Temps” on the other hand, are a permanent fixture in the office landscape.
“TEMPS Long-term or short-term. EARN A LOT OF MONEY! Guaranteed payment every week.”
“If you are looking for a temporary occupation conciliated with your family obligations.
We have what you need!”
“I bought it for the holidays …
… since then, I wear my POPLON blouse all the time.”
Happy Day of the Secretary/Administrative Professional!
As much as I would love to find a typewriter that was owned by the late Japanese movie director Akira Kurosawa (I’m guessing he did own one), this typewriter listed on the Japanese Yahoo auction site (12,000 yen, approx. 150 AUD) isn’t any such thing …
Kurosawa’s Typewriter in this context refers to a Japanese typewriting handbook (40 pages with illustrations) published in 1957 by Keiichi Kurosawa.
Keiichi Kurosawa is the son of Teijiro Kurosawa.
Teijiro Kurosawa was born in 1875, went to Seattle in 1890 and stayed there for several years while studying mechanical engineering. In 1899 he built the first typewriter with hiragana symbols. A typewriter with katakana symbols followed shortly after.
It’s important to remember that hiragana and katakana are syllabaries not alphabets.
When he returned to Japan, Teijiro took with him a dozen American typewriters, and didn’t just open a shop “Kurosawa and Co” in the Ginza area, he also built the building it was housed in — the first three-storied, reinforced concrete building in Japan — and built it without the aid of a professional architect. The building survived both the 1923 earthquake and World War II. Its wired glass contributed to the protection of the treasures within (antique typewriters, old clocks, documents and photographs) that are still a part of the Kurosawa collection today. One special typewriter, eventually returned to the Kurosawa family as a gift, was made for the Emperor Showa in 1931.
In 1914, the Osaka Central Telegraph Office started to use an English typewriter to print incoming telegraphs. The Osaka Central Telegraph Office then decided that typewriters should be used for Japanese telegraphs as well, and asked Mr. Teijiro Kurosawa, then the only importer and maintenance provider of typewriters in Japan, to make a prototype Japanese typewriter suited for Japanese telegraphs.
The English-speaking girl Teijiro hired as a trainee typist, shortly after setting up his business in Ginza, became Japan’s first typist (and his wife).
Teijiro Kurosawa died suddenly on January 26, 1953, at the age of 78 due to a brain hemorrhage.
It is possible in a manner of speaking to write Japanese on a western typewriter. To do this “word sounds” are spelt out using letters of the Latin alphabet.
The most commonly known system is the Hepburn Romanization system named after the Reverend Dr James Curtis Hepburn, who used it to transcribe the sounds of the Japanese language into the Latin alphabet in the third edition of his Japanese–English dictionary, published in 1887. But perhaps the man who should be given the most credit for this invention, is the man depicted on this Japanese postage stamp …
Japanese physicist Tanakadate Aikitsu developed a way to write Japanese in the Latin alphabet called Nihon-shiki or Nippon-shiki Romaji in 1885. Tanakadate visited Europe many times, and from 1888 to 1890 worked with Lord Kelvin at Glasgow University, where some of his papers are still kept.
Hepburn Romanization has always competed with the alternative Nihon-shiki romaji, which was developed in Japan as a replacement of Japanese script. In 1930, a Special Romanization Study Commission was appointed to compare the two. The Commission eventually decided in favor of a slightly modified version of Nihon-shiki, named Kunrei-shiki, which was proclaimed to be Japan’s official romanization for all purposes in 1937.
In 1972, a revised version of Hepburn was codified as ANSI standard Z39.11-1972. It was proposed in 1989 as a draft for ISO 3602, but rejected in favor of Kunrei-shiki. The ANSI Z39.11-1972 standard was consequently deprecated on October 6, 1994.
As of 1978, the Ministry of Foreign Affairs, the Ministry of International Trade and Industry, and many other official organizations used Hepburn instead of Kunrei-shiki. In addition The Japan Times, the Japan Travel Bureau, and many other private organizations used Hepburn instead of Kunrei-shiki.
Tanakadate may not have got the recognition he deserved in this respect, however he did have an asteroid, 10300 Tanakadate, named after him in 1989. Trump that Hepburn!
During his lifetime, the Russian writer and playwright Mikhail Bulgakov (15 May 1891 – 10 March 1940), was best known for his stage plays than he was for his novels and short stories.
Stalin was known to be fond of his play Days of the Turbins (Дни Турбиных) (1926), which was based on the novel The White Guard. However, despite the sometime approval of Uncle Joe, Bulgakov’s career was blighted by censorship.
Posthumously, Bulgakov is best known for his novel The Master and Margarita, which he began writing in 1928, but only completed in the last years of his life.
On 15 June 1938, when the manuscript was nearly finished, Bulgakov wrote in a letter to his third wife, Yelena Shilovskaya (who inspired the character Margarita):
“In front of me 327 pages of the manuscript (about 22 chapters). The most important work remains – editing, and it’s going to be hard, I will have to pay close attention to details. Maybe even re-write some things… ‘What’s its future?’ you ask? I don’t know. Possibly, you will store the manuscript in one of the drawers, next to my ‘killed’ plays, and occasionally it will be in your thoughts. Then again, you don’t know the future. My own judgement of the book is already made and I think it truly deserves being hidden away in the darkness of some chest.”
The book was eventually published by Bulgakov’s widow in 1966, twenty-six years after his death, and led to an international appreciation of his work.
The novel is a critique of Soviet society and its literary establishment. The work is appreciated for its philosophical undertones and for its high artistic level, thanks to its picturesque descriptions (especially of old Jerusalem), lyrical fragments and style. It is a frame narrative involving two characteristically related time periods, or plot lines: a retelling of the gospels and a description of contemporary Moscow.
The novel begins with Satan visiting Moscow in the 1930s, joining a conversation between a critic and a poet debating the existence of Jesus Christ and the Devil. It develops into an all-embracing indictment of the corruption, greed, narrow-mindedness, and widespread paranoia of Soviet Russia. A story within the story portrays the interrogation of Jesus Christ by Pontius Pilate and the Crucifixion.
It’s interesting to note that there are two English translations of the novel available in Kindle format:
A copy published by Oneworld Classics (2008) and translated by Hugh Alpin, has digital artwork on the cover, photographs included in its front matter, and extra material about Bulgakov’s life and works.
A copy published by Vintage Books – London (2010) and translated by Michael Glenny, has a plain cover but a much nicer – and less clumsy – turn of phrase, so that’s the translation I bought (never judge a digital book by its front matter).
I enjoyed the black magic carpet ride that Bulgakov took me on, but it was several chapters and a lengthy epilogue too long.
An Olympia Model 8 typewriter owned by Bulgakov is on display at the Mikhail Bulgakov Museum, which is situated in the Moscow apartment building where Bulgakov shared a room with his first wife, Tatiana Lapp, from 1921 to 1924.¹
The typewriter is set into the wall and is surrounded by snippets of the writer’s work displayed on cards:
Buklgakov’s Olympia Model. 8 at the Mikhail Bulgakov Museum, Bolshaya Sadovaya Street, Building 10, Entrance 6, Floor 4, Apartment №50, Moscow
More typewriters (as if the Olympia Model 8 wasn’t enough) are displayed in another room of the apartment building:
The Olivetti is easy to identify, but the other two… ?
A few wide-carriage typewriters are also on display (interchangeably it seems) in a coffee bar/ tourist shop situated in the same building:
Probably they have no association with the author and are there purely for decoration …
… much like the typewriter depicted on this Russian phonecard …
Images and text (Google translation¹) from:
Andrei Lupan and fellow members of the Moldovan Poets Society discuss their next lyrical tribute to the communist state …
Andrei Lupan (above and below)
Andrei Lupan ((15 February 1912 – 24 August 1992) was a writer and politician. He served as Chairman of the Writers Union of the Moldovan Soviet Socialist Republic (1946–1962), and Secretary on the Board of the USSR Union of Writers (1954–1971). The main themes of Lupan’s poetry were the peasant destiny, human dignity, and honest work as a symbol and purpose of the people.
Another Moldovian poet (and journalist) and his typewriter are commemorated on this 1987 postal cover and stamp …
Pavel Botu was born on the 14 July 1933 the youngest son in a family of three girls and two boys. His older brother George was killed at the end of the war, in 1945 in the Czech Republic, and in 1947 his father died, leaving 14 year old Pavel as the only breadwinner in the family.
In the post war years Pavel endured terrible drought and famine. He was recognised at school for his writing and acting talent (he also playing the piano and accordion and published the school newspaper) and his sensitive and intelligent nature.
His poems were first published in 1952. In 1961, he was appointed deputy editor of the Socialist newspaper Moldova Socialist. In 1965, he was elected Chairman of the Board of the Writers’ Union of Moldova, a post he held until February 1987.
In 1973, Botu participated in the International Congress of Peace Forces in Moscow and was the holder of the State Prize in Literature. In 1984, he was elected Deputy of the Supreme Soviet of MSSR, and was the official Moldovan delegation leader during a trip to America in 1986.
On 17 February 1987, Botu committed suicide during a hunting trip.
Charles Bernard Nordhoff (February 1, 1887 – April 10, 1947) and James Norman Hall (22 April 1887 – 5 July 1951) were both published authors when they first met at the end of World War I. Both men had distinguished themselves as flyers in the famed Lafayette Escadrille Corps, and while serving in the squadron, each of them wrote articles for the Atlantic Monthly about their wartime experiences. When the war ended, their first literary collaboration, The Lafayette Flying Corps, was published in 1920 and so began a long and successful writing career for them both.
They were given a commission by Harper’s Magazine to write travel articles set in the South Pacific, so travelled to Tahiti for research and inspiration and ended up calling Tahiti home. Their first collaboration about the South Seas, Faery Lands, sold quite well but the collaboration deteriorated and the two men began writing on their own again. Hall departed for Iceland, while Nordhoff concentrated his efforts on writing books for boys. In the span of four years he published three adventure books, married a Tahitian woman, and fathered several children. Strong drink and growing depression, however, caused Nordhoff to begin to question his ability as a writer. Hall, meanwhile, struggled with travel books, finally deciding to return to Tahiti and teamed up with Nordhoff again to collaborate on what was to become a series of best sellers.
With Hall tempering Nordhoff’s uncontrollable energy and Nordhoff inspiring Hall’s imagination they published, on their special double typewriter, Falcons of France: A Tale of Youth and the Air (1929), The Hurricane (1936), Dark River (1938), No More Gas (1940), Botany Bay (1941), Men Without Country (1942), and The High Barbaree (1945). The pinnacle of their success, however, was the Bounty Trilogy: Mutiny on the Bounty (1932); Men Against the Sea (1934), which recounts Bligh’s open-boat voyage, and Pitcairn’s Island (1934), which tells about Fletcher Christian finding and inhabiting Pitcairn Island.
They gained critical acclaim for their trilogy but after their success, Nordhoff became disillusioned with writing, yet he continued to collaborate with Hall, turning out several more popular novels. In 1936 he divorced his first wife, left Tahiti a few years later and returned to California where, in 1941, he married Laura Grainger Whiley. During WWII he had the honour of having a Liberty ship, SS Charles Nordhoff, named after him. Nordhoff, however, always wanted to return to Tahiti but he went instead to live at his parents’ home and during a bout of depression, died there on April 11, 1947, a broken man yearning for his paradise home.
Hall returned to his hometown in Iowa and there he worked on more successful novels and short essays. In 1951, knowing that he was dying, Hall and his wife returned to Tahiti where his condition deteriorated quickly. He died on July 6 and was buried with full Tahitian funeral rites.
The James Hall museum, Tahiti
The Pitcairn Islands Philatelic Bureau commemorated the work of Charles Nordhoff and James Hall and recognised the contribution of the Bounty Trilogy with this special stamp issue in 2013 …
Michel Kazan, who gave society and entertainment figures the bouffant hairdo and created the coiffures for the models of several fashion designers, died on Saturday the 13th of May 2000, at St. Luke’s-Roosevelt Hospital Centre, aged 92.
Kazan remained active until well into his 80’s, and the Manhattan salon at 16 East 55th Street that he opened in 1961 still bears his name.
Kazan was born in Russia of French parents and grew up in Paris, where he studied painting and later researched and sketched historical coifs for productions of the Comedie Francaise. Discovering a desire to work directly with hair, he opened his first salon on Place du Theatre Francaise in 1934.
He left France during the German occupation in World War II and settled in New York, where he became the chief stylist for Helena Rubinstein Inc. By the time he left the cosmetics queen in the early 1960s, he had a worldwide reputation as a coiffure master.
Inspired by historical styles, Mr. Kazan brought several famous hairstyles to the modern world, and was best known for the bouffant, essentially a pageboy with the sides teased out, which he created for Jacqueline Kennedy in 1950.
In the mid-1960’s, he came up with the immensely popular idea of attaching little curls to hairpins, which allowed women to simulate widow’s peaks, bangs and curl clusters at the crown of the head.
Beautifully coiffured Polish model Monika “Jac” Jagaciak and Lettera 32
You can read Michel Kazan’s NY Times obituary here.
Elia Kazan (no relation)
A man described as the Japanese Schindler, Chiune Sugihara, is depicted on the lower left postage stamp on this Lithuanian postal cover …
Chiune Sugihara (杉原 千畝 Sugihara Chiune, 1 January 1900 – 31 July 1986) was a Japanese diplomat who served as Vice-Consul for the Empire of Japan in Lithuania. During World War II, he helped 6,000 Jews to leave the country by issuing transit visas so that they could travel to Japanese territory, risking his career and his family’s lives.
Chiune “Sempo” Sugihara and his second wife
The Jews who escaped were refugees from German-occupied Western Poland or Russian-occupied Eastern Poland, as well as residents of Lithuania. In 1985, Israel named him to the Righteous Among the Nations for his actions, the only Japanese national to be so honored.
The office of Chiune Sugihara, Kaunas, Lithuania
Sugihara was never the subject of a Hollywood blockbuster, but was the subject of a short film that won the 1997 Academy Award for ‘Best Live Action Short Film’ …
Chris Tashima as Chiune Sugihara (above and below)
As Gerard of Typecasting in China fame previously told us, there was also a “Chinese Schindler”.
Born in Hunan Province, Ho Feng Shan became a diplomat in the service of China. Between 1938 and 1940, while Consul General in Vienna, Austria, Dr Ho rescued thousands of Jews from the Holocaust by issuing visas to Shanghai and other documents. Ingoring the orders of superiors, and at risk to his career and personal safety, he acted with steadfast courage when most would not.