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Many years ago, 1)before the dawn of the word processor, I worked at The New Yorker at a job called 2)collating, where I had to copy 3)legibly all the changes on a piece of writing(from the editor, the author, the fact checker, and the proofreaders) onto clean page proofs, which were then enclosed in a 4)Plexiglas 5)cannister and shot via 6)pneumatic tube to a higher floor, where they were transmitted by 7)state-of-theart fax to the printer, in Chicago. (That ma is necessary because we used only one printer, 8)R. R. Donnelley & Sons, and they were based in Chicago.)
It was a medieval sort of job—a copyist or 9)scrivener—and I did it for only one year, which was lucky for everyone, because my handwriting is the second-worst in the office. My boss at the time, who had grown 10)humpbacked in the service of the magazine, had exquisite 11)penmanship, but a light touch, and sometimes his marks did not transmit, and the 12)typesetter would plain. So an effort was made to solve the problem by supplying the collating department with No.1 pencils, which have a softer 13)lead than the standard test-taking No.2 pencils and therefore make a darker impression. I got used to the feel of the softer lead, and a pencil 14)snob was born.
When the small stationery stores in midtown began to go out of business, our office became a customer of one of the big office-suppliers, which eventually stopped carrying No.1 pencils. Writing with No.2 pencils makes me feel as if I had a 15)