Be not too quick to say “typo” to this one! A typo it may be, but the typist would have had to use the ring finger of the right hand instead of the middle finger of the left hand, on the top row of keys instead of bottom, to achieve it.
Try this on instead: hearing the word “contraction” instead of seeing it in several classes, and not knowing the word “contraction”…but knowing quite well the word “contraption.” Certainly I heard the latter word far more often than the former when I was growing up: my father called some of his rigged-up problem-solvers “contraptions,” and he also used it pejoratively about other people’s rigged-up problem-solvers (“He’s using some kind of contraption to do it, but I wouldn’t trust it…”). When my sister and I and the boy next door cobbled together a little shed to use as our Clubhouse: “Well, now, that is quite a contraption!”
Contraction, a drawing-together usually by making smaller, might not leap to mind to describe the word “isn’t” or “should’ve”. Such words look just as much like rigged-up problem-solvers as they resemble something drawn together by making smaller.
I would assume that my student did mean that she uses too many contractions in her writing, because teachers routinely warn against such behavior. Even I discourage contractions in academic writing (as opposed to dialogue, where any character who doesn’t use contractions sounds like an extraterrestrial).
But I like to think about someone writing with too many contraptions. One year my sister and I got a printing contraption for Christmas: a geared dial that allowed us to choose single letters, one at a time, and press like a little hand-press to make rudimentary newspapers. VERY rudimentary. A fascinating contraption, but played with perhaps only once or twice before total frustration set in. I was proud to get a child’s typewriter but used it, too, only briefly before my father or uncle showed up with a REAL typewriter from somebody’s office. It was big, heavy, substantial, IMPORTANT. On that baby I typed many a high school English essay; the very mysterious detective novel (novella) written by me and my friend Nancy Zeiber about the Zeigartner Twins, young sleuths in the tradition of Nancy Drew, Judy Bolton, and Trixie Belden; some very evocative poems showing the strong influence of e.e. cummings (whose style also evolved with the typewriter!); and a weekly column that appeared on a page of the newspaper of a nearby city dedicated to “At My School” columns by high school reporters. I didn’t think of that typewriter as a contraption: it was the Big Time, the Real Thing. Upon going away to college I was presented with a soft-green portable Hermes typewriter, pica type, quiet, beautiful, my typewriter throughout college and grad school. With my first job came my first electric typewriter, with a “golf ball” that spun instead of arms that levered up. Now, THAT was a contraption! Its greatest grace was that one could change fonts by changing golf balls…and I changed from underlining titles to putting them in italics, a sophistication from which I have never looked back.
Follow the typewriters with some kind of clunky computer (black screen, green dashed letters, you may remember), and then my adorable first Mac (250K memory!). Floppy discs of every description.
Line up all these writing implements and only the most recent version does NOT look like some kind of contraption. The shelf in my theatre’s props room that’s dedicated to typewriters holds some that are more antique than any I ever owned, and they are contraptions indeed. Sleek, beautiful, carefully engineered little contraptions.
And this is not to mention various kinds of pens—dip, fountain, cartridge, ballpoint, felt-tip, gel—designed to put images onto paper while minimizing manual agony.
I did own some blotting paper, which I did use when I used my dip fountain pen; the wonderful brass contraption that let the user rock the blotting paper over the text was my father’s.
Then there were the various contraptions for removing images from paper: erasers of many sorts, special white-coated paper, white goo with a little brush.
My second-grade teacher had a contraption that drew four parallel chalk lines, appropriately spaced, on the blackboard for the illustration of Palmer cursive. I loved that thing. It was quite a bit like my music teacher’s five-line contraption for drawing musical staves (to receive notes, rests, clefs, sharps, flats) on the board.
I also have a contraption for drawing circles on the board: it’s a huge compass with a chalk-holder on one leg. I use it as a demonstration piece when I teach John Donne’s “Valediction: Forbidding Mourning.”
And I have owned a series of lap desks too: not lap-tops, but actual desks, with compartments for paper, pens, rulers, and all the other necessary contraptions for writing.
If you sense a mounting nostalgia here, you are right. I love contraptions, and especially contraptions associated with writing or sewing. If I had a big desk in a big room, I would display some of the writing contraptions, and occasionally use them.
But of course I can see how using too many contraptions at one time would make the act of writing a pretty hopeless endeavor. Easier to become a juggler in those circumstances than a wordsmith. This is the quandary I like to imagine my student finds herself in. Please don’t disillusion me!
Please enjoy a moment of bliss as you visit Rube Goldberg, the ultimate contraption-maker, as dear to my heart as to my father’s.