Today in pulp I take a look at back at the humble office copier!
It's a godsend to the busy office worker working on their debut novel...
The Victorian office of the future had a mimeograph machine. You turned the handle and it sharpened your pencils so you could hand copy better.
At least I think that's how it worked...
The Belle Époque French copied their documents with the Cyclostyle machine. Here a typical administrator explains its function to his enthused colleagues.
By 1902 the 'Photo Copier' had arrived. Switch on the massively powerful arc lamp and in 2 minutes you'll have a burnt office and a copy of your document!
But for many years the humble mimeograph was king of the office copiers. It could literally make money* for any office.
(*forgeries)
In the early 1950s the 'Thermo Fax' arrived, copying anything in four seconds and in seven colours. The fumes sent you doolally, but SEVEN colours!!
Then in 1959 the photocopier as we know it was born: the Xerox 914! It was the Hal 9000 of copiers: intelligent, elegant, psychopathic.
The 1959 Xerox 914 copier was way ahead of its time. It only took 21 co-workers to clear a paper jam, slightly less than today's copiers.
And by 1963 every modern office had a copier. Sadly they looked like the toast machine you get in hotels, so they mostly copied bread.
Portable photocopying was a work in progress in the 1940s...
...but by 1961 the photocopier could fit into an attaché case. Wouldn't you just love one of these for your office?
Nowadays the photocopier is just an add-on to the office printer, which of course has its own unique problems...
But let's raise three cheers* to the office copier. Like the modern office it gives the impression of doing lots of work, rather than just circulating bits of paper around for a living.
(*In triplicate)
• • •
Missing some Tweet in this thread? You can try to
force a refresh
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.
Al Hartley may have been famous for his work on Archie Comics, but in the 1970s he was drawn to a very different scene: God.
Today in pulp I look back at Hartley's work for Spire Christian Comics - a publisher that set out to spread the groovy gospel...
Spire Christian Comics was an offshoot of Spire Books, a mass-market religious paperback line launched in 1963 by the Fleming H. Revell company. The point of Spire Books was to get religious novels into secular stores, so a move into comic books in 1972 seemed a logical choice.
The idea was to create comic book versions of popular Spire Books like The Cross and the Switchblade; David Wilkinson's autobiographical tale of being a pastor in 1960s New York. It had already been turned into a film, but who could make it into a comic?