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- W2752680055 abstract "‘I’ve gone back to longhand’, Colm Tóibín tells fellow Irish novelist Collum McCann, in a television interview from 1999.1 Returning to pen and paper has provided ‘a particular control over the sentences’, Tóibín explains, and he has discovered that he is ‘enjoying the almost, sort of physical presence of the words on the page’: I realised that one of the problems with using a word processor is how easy it is to correct, and therefore you tend to feel that, ‘Oh, I’ve corrected that’, when in fact all you’ve done is read it over and changed bits. Tóibín goes on to state his preference for a ‘smudgy biro’ over a computer, rubbing his fingers to his thumb as he talks. And he describes the pleasure he derives from writing out the names of the characters in the novel he is just finishing: ‘the “L” for Lily … and the “P” for Paul. All my “P’s” are quite seriously made.’2 But at the end of his answer, Tóibín counterbalances his effusiveness. Working by hand, he tells McCann, ‘is probably exactly the same as working on a word processor’. The kinds of difference the invention of word processors did and didn’t make to the way writers work is the subject of Matthew Kirschenbaum’s new book." @default.
- W2752680055 created "2017-09-15" @default.
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- W2752680055 date "2017-09-01" @default.
- W2752680055 modified "2023-09-25" @default.
- W2752680055 title "Cutting and Pasting" @default.
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- W2752680055 doi "https://doi.org/10.1093/camqtly/bfx013" @default.
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