The type is called Benguiat. It’s the font of my childhood, big and mysterious and curving in a way that suggests the edge of something sharp, something dangerous. Something we, as children, should not be handling. Viking used it, in part, to make Stephen King’s name iconic on their covers, though most would agree (myself included) that King himself did the real carving out, cutting his name into our imaginations like a mad-skilled butcher — but not with Benguiat, no; he did it with the dull, spoon-like edges of an Underwood’s Courier-shaped keys. And in this way, the Duffer Brothers’ Stranger Things affects us. It entices us with a font, makes us remember a very specific set of iconography, then draws us into something far deeper, far richer: a collective well of imagination.
In the fall of 2014, faced with the longest, most difficult portion of a major revision for my not-yet agent, I decided to commit wholeheartedly to an endeavor I had only thus far daydreamed about: I would make myself a writer’s space, separate from our house. Partly, yes, this seemed like simple procrastination — avoiding the monumental challenge of a task that would largely define the beginnings of any future I hoped to have as a writer. No small thing, this revision. So, I told myself that it was also a very practical course of action: our eighteen-year-old cat, Harry Potter, had lately been howling at odd times of the day and night, making working out of the house near impossible (and my wife and I live in a small house in a small town, the nearest coffee shop a forty-five minute commute). If I were to make any progress on my manuscript, I told myself, I would just have to have such a space, no doubt about it, no way around it. Yep.
I did a little research into writers’ huts and shacks — famous retreats of the mind. Virginia Woolf had one, more a lodge of her own than a room: a converted toolshed with a brick patio and big glass windows that looked out upon the lawn. She wrote there in the summers and, once heating was supplied, winters, too. George Bernard Shaw had one, a little shack built on a turntable so it could rotate and take advantage of the moving sun. Americans had their writing huts, too. Mark Twain. Dylan Thomas. A New England writer named Michael Polland actually built his own, after the fashion of Thoreau, and wrote a book about it. I read his book, A Place of My Own: The Architecture of Daydreams, and decided, knowing nothing of ground-thaws and shifting foundations, that it would probably be best to simply buy my room and have someone else install it.