What do literary stalwarts of the original typewriter era make of all this? “We old typists, it makes us feel young again to think there’s a new generation catching on,” said Gay Talese, 79. He still uses a typewriter, albeit electric, as does his friend, Robert A. Caro, 75, the Pulitzer-winning biographer of Robert Moses and President Lyndon B. Johnson. They discussed Mr. Caro’s Smith Corona while watching the Super Bowl.

He eschewed computers, often writing by fountain pen in his beloved notebooks.“Keyboards have always intimidated me,” he told The Paris Review in 2003.“A pen is a much more primitive instrument,” he said. “You feel that the words are coming out of your body, and then you dig the words into the page. Writing has always had that tactile quality for me. It’s a physical experience.”He would then turn to his vintage Olympia typewriter to type his handwritten manuscripts. He immortalized the trusty machine in his 2002 book “The Story of My Typewriter,” with illustrations by the painter Sam Messer.

Harry RansomCenter at the University of Texas, which houses Sexton’sletters and memorabilia. And her typewriter.

David McCullough, the noted histo-rian and Pulitzer Prize winner, haswritten everything he’s ever publishedsince 1965 on his sixty-nine-year-oldRoyal KMM standard desktop.

TomWolfe still uses his 1966 Underwood.

Pearl S. Buck and the 1930s RoyalStandard (with white keys) she used towrite The Good Earth, Jack Kerouac’sroad-weary Underwood Standard S,George Orwell’s Remington No. 2,Patricia Highsmith’s Olympia, Marga-ret Mitchell’s Remington No. 3 (whichher husband bought secondhand andshe relied on to type Gone With theWind and countless pieces of corre-spondence with fans).

I have my work cut out for me withHemingway, since he used many type-writers: a gigantic Royal No. 10 desk-top with glass side panels from his earlyKey West days, an Underwood Noise-less that helped him fi nish For Whomthe Bell Tolls and fi le dispatches fromhotel rooms while he was a World WarII correspondent, and black matte Roy-als from the early 1940s—especiallythe Quiet DeLuxe and Arrow—he fa-vored while at Finca Vigía in Cuba.

Deluxe Noiseless on display at MarjorieK innan Rawlings’s screened frontporch at Cross Creek, Florida; Flan-nery O’Connor’s 1930s Royal Stan-dard; Faulkner’s famed UnderwoodUniversal; Hemingway’s 1940 RoyalArrow; and the tiny, folding CoronaNo. 3 favored by both Ernie Pyle andIsak Dinesen.

This overarching goal is stated in the U.S. Constitution, Article I section 8, clause 8, “The Congress shall have Power ... To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.”

co-authors

Approaching this project, I felt committed to writing a story that could stand on its own; a story that achieved the same things I want ANY of my stories to achieve; a story to which the response might be not, “I see what you did there”, but: “I loved this!”

partnerships, networking, and revenue generation such as donations, memberships, pay what you want, and crowdfunding

“The one inhibition I felt using AnswerGarden [was] knowing that the experts were typically busy and workingon projects more important than my little application programs....

Michael Spinella, executive director of the Textbook and Academic Authors Association

Under the impact of the Carolingian Renaissance, flori-legia included classical authors as well, often arranged haphazardly in the order in which they were read.

St. Bonaventura (1221-1274) found that there are basically four ways of 'making books' (modi faciendi librum):"A man might write the work of others, adding and changing nothing in which case he is simply called a 'scribe' (scriptor).""Another writes the work of others with additions which are not his own; and he is called a 'compiler (compilator).""Another writes both others’ work and his own, but with others’ work in principal place, adding his own for purposes of explanation; and he is called a 'commentator' (commentator) …""Another writes both his own work and others' but with his own work in principal place adding others' for purposes of confirmation; and such a man should be called an 'author' (auctor).’"

List only the first author’s name followed by “et al.” in every citation, even the first, unless doing so would create ambiguity between different sources.

that clients will all start

.””

all

all

timed text

timed-text format

a linking property of type rendering

should be

thumbnail

@id

While it is not necessary

Image Thumbnails on Canvases

Use “01” for an unknown or inexact month or day, and “00” for any unknown or inexact time portion.

Oliver Genschow, Mareike Westfal, Jan Crusius, Léon Bartosch, Kyra Isabel Feikes, Nina Pallasch,and Mirella Wozniak

to group the volumes together

label or description

http://iiif.io

1987-01-01T05:00:00Z

lack of viewer support at this

consumption by

entries

periodical articles (journal, magazine, etc.)

a “Creator” field

descriptive metadata labels

either

with Manifest

https://example.org/

values

required statement

no discernible language

image of the painting Whistler’s Mother by James Abbott McNeill Whistler

label

Could I also use Indie Web tools for a persona, or is that not in keeping with the community?

small modules allow library authors to become lazy. Why include that six-line helper function when you can do a one-line `require`?

These are all things that make your life as a library author easier.

I think I know why: it’s because the small modules philosophy favours library authors (like Sindre) at the ultimate expense of library users.

the expert panel

yet the response of Kleaf to mean maximum mesophyll path length (Dm) fell into two distinct groups.

an intimate association between light-saturated net CO2 assimilation rate (Amax) and the hydraulic conductance (Kleaf) of whole leaves was found

American culturalgeographer Carl Sauer

acing to convey a sense of momentum

Ghost authors:This phrase is used in two ways. Itusually refers to professional writers (often paid bycommercial sponsors) whose role is not acknowledged.Although such writers rarely meet ICMJE criteria, sincethey are not involved in the design of studies, or thecollection or interpretation of data, it is important toacknowledge their contribution, since their involvementmay represent a potential conflict of interest. The termcan also be used to describe people who made asignificant contribution to a research project (and fulfilthe ICMJE criteria) but are not listed as authors. TheICMJE guidelines clearly condemn this practice and statethat ‘All persons designated as authors should qualify forauthorship, and all those who qualify should be listed.’

Chun Lok K. Li

I n B u r r o w - G i l e s , t h e C o u r t d i s t i l l e d t h e s a m e r e q u i r e m e n t f r o m t h e C o n s t i t u t i o n ' s u s e o f t h e w o r d " a u t h o r s . " T h e C o u r t d e f i n e d " a u t h o r , " i n a c o n s t i t u t i o n a l s e n s e , t o m e a n " h e t o w h o m a n y t h i n g o w e s i t s o r i g i n ; o r i g i n a t o r ; m a k e r . " 1 1 1 U . S . , a t 5 8 ( i n t e r n a l q u o t a t i o n m a r k s o m i t t e d ) . A s i n T h e T r a d e - M a r k C a s e s , t h e C o u r t e m p h a s i z e d t h e c r e a t i v e c o m p o n e n t o f o r i g i n a l i t y . I t d e s c r i b e d c o p y r i g h t a s b e i n g l i m i t e d t o " o r i g i n a l i n t e l l e c t u a l c o n c e p t i o n s o f t h e a u t h o r , " 1 1 1 U . S . , a t 5 8 , a n d s t r e s s e d t h e i m p o r t a n c e o f r e q u i r i n g a n a u t h o r w h o a c c u s e s a n o t h e r o f i n f r i n g e m e n t t o p r o v e " t h e e x i s t e n c e o f t h o s e f a c t s o f o r i g i n a l i t y , o f i n t e l l e c t u a l p r o d u c t i o n , o f t h o u g h t , a n d c o n c e p t i o n . " I d . , a t 5 9 - 6 0 .

I n T h e T r a d e - M a r k C a s e s , t h e C o u r t a d d r e s s e d t h e c o n s t i t u t i o n a l s c o p e o f " w r i t i n g s . " F o r a p a r t i c u l a r w o r k t o b e c l a s s i f i e d " u n d e r t h e h e a d o f w r i t i n g s o f a u t h o r s , " t h e C o u r t d e t e r m i n e d , " o r i g i n a l i t y i s r e q u i r e d . " 1 0 0 U . S . , a t 9 4 . T h e C o u r t e x p l a i n e d t h a t o r i g i n a l i t y r e q u i r e s i n d e p e n d e n t c r e a t i o n p l u s a m o d i c u m o f c r e a t i v i t y : " [ W ] h i l e t h e w o r d w r i t i n g s m a y b e l i b e r a l l y c o n s t r u e d , a s i t h a s b e e n , t o i n c l u d e o r i g i n a l d e s i g n s f o r e n g r a v i n g , p r i n t s , & c . , i t i s o n l y s u c h a s a r e o r i g i n a l , a n d a r e f o u n d e d i n t h e c r e a t i v e p o w e r s o f t h e m i n d . T h e w r i t i n g s w h i c h a r e t o b e p r o t e c t e d a r e t h e f r u i t s o f i n t e l l e c t u a l l a b o r , e m b o d i e d i n t h e f o r m o f b o o k s , p r i n t s , e n g r a v i n g s , a n d t h e l i k e . " I b i d . ( e m p h a s i s i n o r i g i n a l ) .

O r i g i n a l i t y i s a c o n s t i t u t i o n a l r e q u i r e m e n t . T h e s o u r c e o f C o n g r e s s ' p o w e r t o e n a c t c o p y r i g h t l a w s i s A r t i c l e I , § 8 , c l . 8 , o f t h e C o n s t i t u t i o n , w h i c h a u t h o r i z e s C o n g r e s s t o " s e c u r [ e ] f o r l i m i t e d T i m e s t o A u t h o r s . . . t h e e x c l u s i v e R i g h t t o t h e i r r e s p e c t i v e W r i t i n g s . " I n t w o d e c i s i o n s f r o m t h e l a t e 1 9 t h c e n t u r y — T h e T r a d e - M a r k C a s e s , 1 0 0 U . S . 8 2 ( 1 8 7 9 ) ; a n d B u r r o w - G i l e s L i t h o g r a p h i c C o . v . S a r o n y , 1 1 1 U . S . 5 3 ( 1 8 8 4 ) — t h i s C o u r t d e f i n e d t h e c r u c i a l t e r m s " a u t h o r s " a n d " w r i t i n g s . " I n s o d o i n g , t h e C o u r t m a d e i t u n m i s t a k a b l y c l e a r t h a t t h e s e t e r m s p r e s u p p o s e a d e g r e e o f o r i g i n a l i t y .