I got into clutch pencils late. I'm a fan of the old-fashioned wooden kind (2B) which I enjoy sharpening with a pocket knife (a 60mm Laguiole) or the aluminium-bodied sharpener that my grandfather gave me, which I've carried around the globe several times. When I was in Bali the humidity was so intense that graphite was the only thing that could make a mark on the wilting page but in London both knives and wood shavings are frowned upon so I picked up a plastic-barrelled clutch from Ryman's in Oxford Street and have never looked back. The
Staedtler pictured here is aluminium with a plastic cap - 2B, 0.5mm leads. The metal barrel encourages the user to press harder than necessary - it's like holding a scalpel or a dentist's tool - but it has a nice action on newsprint, which is good for the NYT crossword. The Staedtler is also extremely well-balanced, and cylindrical. (With clutch pencils many people go for Pentels which are hexagonal, too short and set with a clip that's too low in the body. Fine for sketching perhaps, but useless for writing.)
The
Rotring cartridge fountain pen glides across Moleskine stock as smoothly as a pencil. Rotring's black ink leaves a very satisfying mark but their red is rather wan. This model has a medium fine nib and a beautifully straight cylindrical barrel with no adornments which makes the grip comfortable, although the proportions are slightly wide; if I'm writing for a longer stretch I tend to change to the more slender Aurora. The Rotring is also very reliable. It has never leaked either in heat or an airplane cabin, and the shaft accommodates a spare second cartridge which cleverly balances the pen. It's also excellent for drawing, which can be a distraction. I have two but can identify this one as the going-away present I received when I left the Auckland City Art Gallery because it has a little dent in the cap.
I don't really like ballpoints but they write on anything so you need to have one. This model has obvious appeal because it's from the
Royal Plaza on Scotts Singapore but it also has an extremely satisfying click action. Virgin Atlantic also do an excellent complimentary ballpoint although the clip is loose and easily lost. Flashing either sort about gives lazy thinkers the impression that you're richer and more successful than you are. (Disclosure: VA flight attendants on the Heathrow / LAX do a fantastic gin and tonic.) Both are also light enough to tuck behind your ear. I'm right-handed but put pens behind my left ear because I am contrary. (I can also write left-handed: I was very bored as a child.)
My
Aurora uses longer Parker refills and tends to leak. It's fitted with a fine nib but with use the tines have spread to the point where it must be a medium now. I used this pen to write most of
Shirker and
Electric, using green legal pads because I found the colour soothing and it made the pages easy to spot after being inserted in a white-paged ms. (In New Zealand legal pads came in an onion skin finish but in the UK they're called Conference Pads and are scratchy, thick and no fun.) The Aurora's nib benefits from a smoother writing surface; at the moment I'm mostly using it on the Ryman wire bound Shorthand notebook. Because it's old it tends to leak, especially on planes, and the slit admits too much ink for recycled stock. Nevertheless this is the pen I use most - it's mah thinkin' pen. I use it as often as I use the lap top.
My disposable pen of choice is a
Pilot V Ball which is the most precise marker on a Moleskine or almost any other stock. If you want to diagram something, it's ideal. But the short moulded barrels are ridged to secure the cap and the moulding digs after a while, which drives me nuts. What's wrong with a
smooth shaft, people? The rolling tip also encourages poor penmanship so after half a page I end up writing like a doctor. I use the black one when I need to make notes or doodle during phone calls, the red to correct a typescript and the green to run big diagonal slashes across the page when I'm juggling the black, red ink and pencilled notes.
Quincy MD; Band à part; Miss Mosh; Sleepy Hollow. When I was flatting it was a good game to watch Quincy MD and take all the dialogue literally. The ep when Quincy yelled at someone 'Your father was my right arm!' was a particular hit. I'm always thinking Band à part. Miss Mosh who begat GaGa. A lot of Tim Burton's movies get better with age, which is interesting.
Sopranos creator David Chase interviewed by PBS presenter Jim Lehrer in 2001:
Complaining about a new seven-hour production / reading of The Great Gatsby, Time theater reviewer Joan Marcus mentions in passing that the novel is 49,000 words long. I knew there was a reason I liked it. I first read Gatsby when my brother was doing his first year of English lit at Auckland Uni. His secondhand paperback edition was a tie-in with the 1974 movie version with Robert Redford on the cover so I picked it up because I liked Butch Cassidy and the Sundance Kid*. (My brother is seven years older than me, so I must have been around 12.) Anyway: in; out - bang. And that's the book. Whether or not it dates from that experience, I have always associated the form of the novel with concision. This puts me at odds with almost everyone nowadays but when I look back on my book collection (i.e. visualise it in its Kane / Raiders style storage warehouse) my favourite - or rather my most enjoyed - reads are the shorter ones. Why fuck around? You focus, You get in there, you get out. Travel light, etc.
New draft, nearly there... I've gone into some sort of zone where the only thing I watch is Mad Men and the only things I read are old detective novels and the NYT. This is fairly normal behaviour for creative types; when Irvine Welsh was writing Trainspotting all he watched was Star Wars, over and over, although drugs may have been involved. And David Lynch eats the same thing for lunch every day - broccoli and a tuna sandwich, a quirk which drove Isabella Rosselini from his life. Good company, happy thoughts. Repetition is the mother of invention. When I was writing The Church of John Coltrane I only listened to Coltrane, of course - which drove the neighbours nuts. The soundtrack for the new thing is Sly and the Family Stone, Sticky Fingers... but hey, that's a whole other blog entry.
I've been taking blogging much too seriously lately, and I swore I'd never do that (again). But man, you need a distraction when you hit a bump. Bump being dealt with. Normal transmission to be resumed, etcetera, etcetera.
The Social Network benefits from a second viewing. Aaron Sorkin's script is so upfront you get all the main points the first time but re-examination turns up all kinds of gems: Eduardo (Andrew Garfield) putting out a fire while he's putting out an actual fire; the champion rowers beginning to lose from the moment they're interrupted in the practice tank; the very Citizen Kane arc of Zuckerberg (Jesse Eisenberg) breaking into the frat party virtually, attracting and being surrounded by more and more people until he ends up being crowded out and as isolated as he was in the beginning; the Facebook blue that creeps into the edges of the sky until it's filled.