A Conversation with Two Ethiopian Writers in Exile

20 June 2015

New reports this week highlighted that the international community is currently experiencing the single largest refugee crisis since the Second World War. According to the UNHCR, at least 51.2 million people were forcibly displaced at the end of 2013 – be that internally or seeking refuge abroad – due to conflict, crises or persecution.

PEN International and its partners have seen a corresponding rise in requests for assistance from writers in exile or seeking to leave their countries. Such assistance can vary from short-term grants – provided through the Foundation PEN Emergency Fund – support to asylum claims, or for relocation through placements provided by our Centers or the International Cities of Refuge Network (ICORN). Over half of these requests for assistance come from writers in the Middle East, notably Syria, Iran, Iraq and Libya, many of whom are languishing without status and in severe economic hardship and insecurity. In 2013, four million of a total 16.7 million refugees globally were Syrian.

As individuals flee their homes, the overwhelming majority seek refuge in neighboring countries that, due to a lack of solidarity and support among the international community, are now at breaking point. Pakistan, Lebanon, Turkey, Ethiopia and Kenya are among the top 10 countries hosting the most refugees. According to the UNHCR, by 2014 this same top 10 accommodated 58 percent of all individual refugees under the UNHCR’s mandate. Almost all of the top 40 host countries for refugees in 2013 were developing countries; more than half of them in Sub-Saharan Africa.

Africa is estimated to be home to some 3 million refugees. By the end of June 2014, Kenya was host to 537,000 of them – a figure which roughly equates to 13 refugees per 1,000 inhabitants – the majority from neighbouring South Sudan, Somalia and Ethiopia. In August 2014, Kakuma camp, in Turkana County, announced that it was no longer able to accommodate any new arrivals, leading the UNHCR to seek new land on which to expand. In April of this year, the Kenyan authorities announced the imminent closure of Dadaab – the world’s largest refugee camp, established in 1991 and home to some 350,000 Somali refugees – following a fatal attack on Garissa University College by the Somali Islamist group al-Shabaab.

As a select group of nations are overburdened, how do the refugees residing there fare? Emma Wadsworth-Jones from PEN International spoke to Betre Yacob Getahun and Zerihun Mulugeta, two Ethiopian journalists living as refugees in Kenya, to get a first-hand perspective of what forced these writers to flee their countries and of their lives as writers in exile. 

Both Getahun and Mulugeta recall the narrowing space for freedom of expression in Ethiopia. As Getahun explains,

“The government works day and night to silence journalists, bloggers and those who express their views, and to shut down those remaining private media outlets. It continues to persecute, intimidate, and arrest journalists and bloggers on false charges… writing the truth or speaking one’s own mind has become a crime in Ethiopia; and independent reporting is seen as an act of terrorism.” 

Indeed, Mulugeta emphasizes that:

"Freedom of expression and terrorism are now defined as two sides of the same coin. Terrorism is a new political approach to crush freedom of expression. I myself am a good example; I was accused of being a terrorist. In Ethiopia, being a free journalist means that, in one way or another, you are an adversary of the regime. In Ethiopia, free journalists have only three options; jail, exile or working as part of the regime’s propaganda machine.”

Since 2009, the Ethiopian state has increasingly utilized its Anti-Terrorism Proclamation No. 652/2009 to arbitrarily arrest, prosecute and detain independent journalists and opposition activists. Actions classified as ‘terrorist’ by the law would often not even be considered crimes outside of Ethiopia. In 2014 alone, PEN International monitored 21 cases in Ethiopia, 14 of whom are print journalists or bloggers that are currently held for supposed terrorism offences.

Knowing full well the dangers faced by journalists and human rights defenders in Ethiopia, and the lack of support available to them in the form of local networks on the ground, both Getahun and Mulugeta chose to take up their profession regardless, writing articles covering the social, political and human rights landscape in Ethiopia, and working with international organizations like Human Rights Watch to expose human rights abuses in the country. In January 2014, they established the Ethiopian Journalists’ Forum (EJF), an organization dedicated to working for the rights of journalists and press freedom in Ethiopia.

Getahun recalls that he first began facing serious challenges when he began reporting on the political and human rights situation in the country.

“Since 2012, I have experienced several problems because of my profession. I have been intimidated, threatened, and warned so many times because of my writings and reporting. I have been frequently accused of working with outlawed groups considered as ‘terrorist’ by the government, foreign powers, and human rights organizations to elicit violence, commit terrorism, and overthrow the government, and threatened to stop writing on political and human rights issues. I have frequently been labeled as a terrorist and criminal by state owned media, including Addis Zemen, the biggest newspaper in the country.  On the top of that I have been under surveillance.”

Working for pro-government media outlets, Mulugeta faced a different kind of pressure, the pressure to conform and forego his journalistic principles. However, despite considerable pressure and attempted bribery, he was able to maintain his independence and write about human rights violations in the country. It was not without a price however; Mulugeta was placed under permanent surveillance and recounts that, between November 2011 and June 2012 he was “regularly harassed and threatened … by security officials to reveal information about opposition groups and leaders with whom I was friends or had sought interviews.”

Both continued to receive threats and experience intimidation on the part of the authorities, until in 2014 the pressure reached its peak. As critics of the regime and proponents of an Ethiopian free press, they were both listed as terrorists in the national media.

 "I was accused of inciting violence to revolt against the government and conspiring to unlawfully abolish the constitutional system of the country [in my articles],” says Getahun. “I was also accused of working with international organizations classified as ‘terrorist’ by the government. The Ethiopian government lists the name of journalists and politicians in its media when it decides to arrest them, and it is the last preparation. Those listed are always jailed and charged under the anti-terrorism law.” An official investigation was opened into Getahun.

Meanwhile, much of the harassment and intimidation that Mulugeta faced came from his role with the EJF and his connection to the Zone 9 bloggers, arrested in April 2014.

"As head of public relations for the EJF, I was closely associated with its work and a particularly identifiable figure. Security agents threatened me to try to make me leave the association on several occasions following my appearance on the Amharic service of Voice of America (VOA) alongside the president of the EJF [Getahun] in February 2014. I also lost my job at Sendek newspaper as the management feared that it would be closed by the government if it was seen to be connected with me.”

Fearing imprisonment and possible torture, both fled Ethiopia to Kenya in mid-2014 where they have received refugee status.

When asked about their situation in Kenya and whether they feel safe, Mulugeta responded:

"My life in Kenya has become increasingly dangerous.  As you know, in November 2014, I was violently robbed outside my home. Meanwhile the Ethiopian government continues to paint me and my colleagues at the EJF as terrorists. On 29 January 2015, Human Rights Watch launched its world report. Accompanying the Ethiopia section of the report was a video featuring several colleagues from the EJF and myself. The video was featured in a televised BBC report in which a government official offered the right of reply suggests that we use journalism as a cover to incite violence. Pro-government newspapers such as Addis Zemen and Aiga Forum subsequently called for me to be arrested on 7 February 2015.”

Both fear that they will be kidnapped or otherwise formally extradited back to Ethiopia.              

“My life in Kenya is full of nightmare,” says Getahun. It is filled with sadness, hopelessness, desperation, and stress. I always struggle to feel better but am always the same – desperate and stressed.  My movement is very limited because of the security problem. I often get to bed when the sun rises and millions wake up, and get up when it goes down. We only leave home when there is something to buy or there is an important appointment.”

He goes on: “my security is still at risk, and I am always worried about it. I have continued to receive threats and warnings, and encountered serious incidents. In addition, the accusations against me have continued. I am also under surveillance. And this all tells me that I might be extradited to Ethiopia or something grave may happen to me anytime.”

Has the UNHCR in Kenya been able to help?

“There are uncountable horrendous problems Ethiopian journalists are facing in exile in Kenya. They have problems ranging from security to financial and psychological. And these coupled with prolonged and ridiculous UNHCR eligibility and resettlement processes and other related challenges complicate their situation and threaten their lives...I have frequently applied to the UNHCR to get protection. But, the organization has kept silent so far,” comments Getahun.

Mulugeta adds:

“I registered with the UNHCR and received a refugee mandate in March this year, but the resettlement process is very slow. I applied to the UNHCR protection unit, but unfortunately they couldn’t give me any assistance. As a journalist, being a refugee means a lot of hurting, sometimes I ask myself if it would not be better to be imprisoned.”

Locked in their homes, unable to work, Getahun and Mulugeta have had to seek the assistance of international NGOs to provide them with support in order to survive. Getahun explains:

“The financial problem is also another headache for me and my wife. It is always hard for us to pay for house rent and cover basic expenses. There are times we went to bed with empty stomachs. Such situations hurt me further…I have received financial support from some organizations and their support helped me to survive. Without their support I wouldn’t be here.”  

Their lack of security also leads to frustrations at their inability to integrate in their host country and contributes to fears that they may be returned to Ethiopia.

Are they able to write freely in exile?

While Getahun continued to write initially, recent threats have made him cautious:

“At the moment it is too risky to keep writing. But, after I get out of here and resettle to a safe place I will keep writing.”

For Mulugeta, the psychological strain has been too much to allow him to write.

“Each and every single day is weighty as a stone.  I have come to realize that journalism is dying in my heart. Since I fled Ethiopia, I haven’t been able to write a single story. I am worried about how to continue my career and how to survive… It is difficult to write freely in Kenya. However, thanks to the technology, it is made more possible in third countries. I hope I will continue with my career. I believe it is possible to exercise journalism everywhere.”

Clearly, continuing to write has been a struggle for both journalists, which they feel can only be overcome when they are resettled to a third country further from home. But what are the prospects for resettlement?

While 145 states have ratified the 1951 Refugee Convention, which recognizes the international scope of the refugee problem and establishes the principle of mutual responsibility in resolving the situation, statistics provided by the UNHCR in 2013 show that the number of countries offering resettlement has remained stable at 27. The main beneficiaries of this initiative have remained the same since 2009: Myanmar, Iraq, the Democratic Republic of Congo, Somalia and Bhutan. While we can expect Syria to make the list in forthcoming statistical reports, will Ethiopia? Given that in 2013 fewer than 15,000 refugees were resettled from African countries, it seems unlikely.

According to a recent Amnesty International report, nearly one million refugees require resettlement, with the number expected to increase in the future. The international community must respond unilaterally, removing the disproportionate burden from developing countries, and recognize that the current crisis is, in fact, a global issue.

What can PEN do to help?

Both Mulugeta and Getahun believe that PEN should actively lobby governments and the UNHCR to resettle journalists at risk. Mulugeta recognizes the current work of PEN in providing other means of resettlement to exiled writers and journalists, and asks for the development of more scholarship opportunities and programs. He also sees PEN as having the potential to facilitate training opportunities.

With the growing pressure on readily available support, PEN Centers have a vital role to play bridging the gap by helping provide short- and/or longer-term assistance to writers at risk. Furthermore, as we have seen over the years, PEN members have the ability to welcome their persecuted colleagues, providing much needed psychological support, and aiding their integration into this international community of writers.

If you would like to discuss the possibility of your Centre becoming more involved in providing assistance and protection to writers at risk or in exile, please contact cathy.mccann@pen-international.org

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This week in the Guernica/PEN Flash Series, we feature a piece by Miles Klee. Subscribe to the series and get new flash delivered to your inbox twice a month—no spam or news, just stories.

The way it is, our life ends tomorrow. You know this. Today it’s raining. Well. That day just days before that day, it snowed out of a sun-blind sky. What does that mean? Come on, you know it sounds good. Sounds good, I’m saying, I said. I said if that’s the way it is then you know what that’s enough already. I don’t want to be fighting you or walking with you past other fights, that’s an overly common pastime. I don’t see any gain to it. A fight doesn’t hotly compress my thought so I can get on with life. Not that there’s any rush, mind. I hate when it’s just rained and everything in the city shines. You knew it wouldn’t last, the rain, you said—and that’s just it, you’re a know-it-all. You have to actually know it all. My father always called me one, and now I know what he meant. You know the hotel on this block? Let’s go. Money burns a hole in my heart. I love you and none of this other shit. The hotel showers are enormous. Let’s switch places with other people, make them pretend to be us. Don’t you ever just need a break. I think it really may rain again. I think if I popped you a bunch of snakes would wriggle out. Well go on then, you can say something, I think. I’m giving you permission, I said, knowing exactly how much it would irk you. So we kill each other tomorrow—nothing passionate there. We should do some kind of warm-up. Snatch a purse, maybe rob a bank. Assault a couple of passers-by. For the very crime of passage, of course. It used to be hard to get place to place, I said that day, or meant to. You know. (Words about clouds or even birds might do quite nicely here.) Yesterday, or it might well have been the day before, I read about a planet with rings two hundred times the size of Saturn’s. I realized I had no fucking clue how big the rings of Saturn are. It’s not as if I can tell you anything about space. Something else I’m sure I’ve read, sure I’ve read about, is of a city exterminator saying rats of age and experience are really basically literate. I imagined, then, a literate rat, reading up on rats like himself. “So that’s what I’ve been doing,” the rat would realize. I don’t know where I read this and I have never been able to find the quote again. It’s altogether possible I dreamed it. I hate my dreams, they’re far too realistic, mornings I have to ascertain how much of them is true. I’d rather not think about rats, reading. Let’s please not make a scene, please. We both know you’ll burn yourself cold. Forget we ever tried to talk.

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Material: Acrylic
Nib: 18k Fusion
Appointments: Rhodium-plated
Filling System: Standard International Cartridges/Converters
Length (Capped): 142mm
Length (Uncapped): 126mm
Length (Posted): 169mm
Section Diameter: 11.5mm
Barrel Max Diameter: 13.5mm
Cap Max Diameter: 15.3mm
Weight, Uncapped (with ink and/or converter): 14g
Weight, Capped (with ink and/or converter): 24g

My best friend is a marketing genius. He has been working in marketing since he was in college, through a degree in music production, an MBA in Marketing, and 15 years in the industry after that. He enjoys marketing. He’s good at it. And he’d be the first person to tell you that most of marketing is complete and utter crap. Having spent nearly a decade in the technology industry myself, and having seen product marketing in action, I have to agree.

Never have I seen quite as perfect an example of marketing run amok as I have in the case of the Delta Fusion 82, and more particularly, around the Delta Fusion Nib that inhabits this pen. But before we get to the nib, let’s talk about the pen.

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The Fusion 82 is a beautiful pen. It’s long, but feels almost slender or willowy, with a sleek profile. The production line of this pen comes in a variety of different colors including blue, brown, black, and the color of my pen, fuschia. The acrylic from which the pen is turned is nothing short of stunning. It’s completely alive with movement, with swirls of white and silver, highlighted with accents of black and grey. Although it is almost cliche to say, it’s hard to capture the depth of this material in a photograph or video. It evokes an almost galaxy-like nebula flow.

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In addition to the production-line versions of this pen, there are a whole variety of limited edition or retailer exclusive versions of the pen with even more interesting materials in a vast panoply of colors.

The pen itself is a nice shape–a modified cigar-shaped pen that feels almost lanky in the hand, without being too thin to be usable. The cap is made of out a solid piece of acrylic, with a perfectly domed top that swells slightly to a double cap band in silver. The wider of the bands features the Fusion 82 logo in script around the band. The pen’s clip is has a rather modern, industrial feel with a unique profile and shape. It’s solid, though, and does a nice job of holding the pen in place.  The rest of the pen tapers down to another perfectly rounded point on the bottom. It’s a beautiful pen, and appears to be made with an superb craftsmanship. It’s perfectly turned, and beautifully polished.

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The cap unscrews on super-smooth threads to reveal a slightly tapering section. The section unscrews from the barrel exposing an acrylic tenon, meaning the pen is eyedropper compatible. In addition to its eyedropper compatibility, the pen accepts standard international converters and cartridges (both long and short.) The Fusion 82 comes with a screw-in type converter as well, for those who like the extra security of a converter that is pretty much guaranteed to stay in place.

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Then, at last, we get to the nib, and the reason for my anti-marketing screed at the top of the blog post. The heart of the Fusion 82 is Delta’s fusion nib. It is, essentially, a steel nib with an 18k gold saddle attached to the face of the nib. This makes for an interesting-looking, although somewhat confusing, nib–but the real fun comes when you start to read the marketing blurbs around the Fusion nib.

“The nib was developed to improve the efficiency of the fountain pen by enhancing the physical-chemical properties of ink within its assembly system. The foundation of the Fusion nib is a steel alloy covered and decorated with a layer of precious 18K gold: the ink is made more viscous on the tip of the nib because the thermal conductivity of the precious metal plate will heat the underlying steel – the higher temperature makes the ink flow more smoothly. The combination of gold and steel on the flexible nib gives it a unique and appealing look. It is strong and durable for long writing sessions – much more so than solid gold nibs. Hence, the fountain pen is more precious and at the same time less expensive!”

Now, I’m not a metallurgist. I am not even particularly scientifically-minded.  (Considering my sojourn through the American education system followed by a degree in musical theatre, that’s not all that surprising.) However, even I, with my limited understanding of the world of physics, find the above paragraph to be a load of bull plop. If my reading is correct, having a gold plate soldered to the top of a steel nib will cause the gold to heat the steel and in turn, the ink in the nib slit, to the point that it would have a noticeable impact on the ink’s viscosity. I don’t think that’s quite how thermal conductivity works. If it were, my All-clad skillet wouldn’t even need to be on the stove to cook my food. Unless Delta’s scientists have discovered what, in essence, is a new battery which will never run out of energy, this sentence is little more than marketing run amok. Gold by itself doesn’t heat steel alloy.

There is also one other aspect of the paragraph above that I’d like to challenge. “The combination of gold and steel on the flexible nib…” This nib is not even remotely flexible. Perhaps they meant something else by use of that word, but if I may quote the immortal Inigo Montoya, “You keep using that word. I do not think it means what you think it means.”

Now, that being said, I don’t want to tarnish the entire pen due to some overzealous marketing copy. The fact remains that the nib on the Delta Fusion 82 is wonderful. It’s super-smooth, it’s moderately wet, it writes like an absolute dream. In fact, it writes so well that, when I realized I was going to have to give away this Fusion 82 to this season’s supporters, I immediately went online and bought another one just for me. Let me restate: the Fusion 82 was so good I didn’t just buy it once, I bought it twice. And I’d probably buy it a third time.

“But Matt,” you may be saying to your computer monitor, “you just bashed the marketing campaign of the nib, then turned around and said that it was one of your favorite nibs. Don’t you think that perhaps the reason it’s one of your favorite nibs is due to that plate of gold?”

“Ah,” I might reply. “First, you should probably stop talking to your computer monitor. People may question your sanity. I mean, even more than they already question your sanity for watching reviews of fountain pens. But beyond that, let us not forget that correlation does not equal causation. For although my sample size is small, I have anecdotal evidence that perhaps that gold plate is not as a certain marketing blurb might make it out to be.”  Then I would stop talking in such wise and just get back to writing my blog post.

You see, with as wonderful a writer as the Delta Fusion 82 is (and it is), and as beautiful as it looks (and it does), there is one potentially significant flaw in the fusion nib design: Sometimes, the gold plate falls off. I had seen reports of this online, which I thought may have been exaggerated a bit…until hit happened to me. (Side note: It’s amazing how easy it is to dismiss others’ misfortunes until they happen to you as well. A good reminder that I need to work on my sympathy skills.) My pen, a Fusion 82 in the Chatterley Luxuries exclusive “moonlight” acrylic had the gold plate of the nib fall off during cleaning after its first inking. And because I am deeply concerned about data points (*cough*) , I spent some time testing the nib without the gold plate in place before I sent it back to Delta’s US distributor for repair/nib replacement. The nib looked ugly without its gold lamé sarong, but it was still a wonderful a writer. I noticed no difference in performance without the gold saddle.

Despite the silly marketing and the potentially faulty nib, the fact remains that I just adore this pen. I’ve had the Fusion 82 (the one I’m giving away in the raffle) inked almost non-stop since I got it. The pen is light, it’s beautifully (and beautifully manufactured), it writes like a dream, and it fits absolutely perfectly in my hand. Even though I know I’m being pitched some rather ridiculous marketing, not to mention overcharged for a labor-intensive, over-manufactured nib with a slight tendency to fail, I just can’t make myself care. Perhaps I’m setting myself for up disappointment, but I can’t help myself: I really do like this pen a lot. I am waiting with bated breath for my own Fusion 82 to return from repairs. Then I may find myself with a new EDC pen.

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Material: Resin
Nib: Steel
Appointments: Ruthenium-plated
Filling System: Standard International Cartridges/Converters
Length (Capped): 136mm
Length (Uncapped): 125mm
Length (Posted): 159mm
Section Diameter: 11.1mm
Barrel Max Diameter: 13.5mm
Cap Max Diameter: 16.7mm
Weight, Uncapped (with ink and/or converter): 26g
Weight, Capped (with ink and/or converter): 38g

When the Apple iPod swooped onto the market back in 2001, it took the MP3 world by storm. While it did a lot of things pretty well, one of the things that really separated it from the pack was its design. Lead by now-famous industrial design Jonathan Ive, Apple’s first generation iPod ushered in an era of clean, slick, futuristic-looking industrial design. It was streamlined, with only a flush click wheel and four buttons (that would eventually be reduced to only the clickwheel and one button), and it focused on simplicity and starkness in extreme contrast to the other button-laden, crazy-colored, funky-shaped MP3 players of the day.

The magnitude of this change in the industrial design space and its impact on future design aesthetic cannot be overstated. It changed the way we define what looks “modern,” and its effects are still in evidence today. One of the places where you can see the after-effects of the Apple iPod is in the design for Montegrappa’s Fortuna White & Ruthenium.

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Named after the Roman goddess of fortune, the Fortuna White & Ruthenium is part of Montegrappa’s Resin line of pens. It’s made of an opaque white resin, highlighted with black metal (Ruthenium-plated, one would assume). The pen features a clean line, unlike most Italian-made pens, but is all the more eye-catching for its bright, white simplicity. The Fortuna comes in other finishes, including a white and rose gold, black with rhodium, ruthenium, and rose gold trim, or blue with rhodium or rose gold trim. It is the White and Ruthenium version, though, that exudes that 2004-era iPod design feel. (There is also a “skulls” version of this pen. I seriously do not understand the appeal of a fountain pen covered with skulls. I guess somebody is buying them, though, because they keep making them. You’ll never find one in my collection. Blargh.)

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The top of the cap features a black, metal medalion with 1912 (Montegrappa’s year of founding), laurel leaves, and a crown. The clip, again, is black and streamlined, with a very slight hourglass shape, ending in a small roller. The cap swells outward slightly as you move toward the black metal cap band, which features the engraved word “Montegrappa.” The barrel of the pen continues toward a slight, sweeping taper which terminates in a flat end.

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The cap is held onto the barrel by a set of black metal block threads. Montegrappa uses this type of threads often, and I don’t like them (the threads, that is.) The metal block threads were the reason why I ended up returning my Montegrappa Espressione:  my grip always ended up sitting directly on these threads, which are supremely uncomfortable. Fortunately, the section of the Fortuna is long enough (and nicely shaped, to boot) that I never find myself holding the threads. My experience has also been that these metal block threads do not do a great job sealing up the capped pen. As a result, the Fortuna tends to dry out/crust up more easily than other pens.

The section tapers down in a graceful line to a black nib featuring the name “Montegrappa” and an intricate tile-like design stamped into the nib face. The pen is a cartridge/converter pen, and comes with both a Montegrappa-branded converter and a couple of Montegrappa short cartridges. Montegrappa converters and carts follow the international standard, so they are interchangeable with a large number of converters and cartridges from other manufacturers.

In the hand, the Fortuna feels quite nice, although it is a bit on the heavy side. The walls of the resin are pretty thick, and the section is lined with metal, giving some heft to the nib end of the pen. The white resin is very smooth, but maintains a slightly semi-gloss or satin finish rather than a high-gloss mirror shine. The resin also has a bit of a “cold” feeling to it, very different from other plastics or rubbers (like Ebonite).

Unposted, the balance is not too bad, and comfortable in my hand.  The pen can be posted, but I find doing so makes the pen a little too heavy, although the balance doesn’t seem to be impacted too horribly. I should note that the cap only posts via friction, and I have had the cap pop off from rubbing up against the web of my hand, so it’s not the most secure posting of all time.

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This is only the second Montegrappa nib I have had the opportunity to use, and like the nib on the Espressione, I found the steel nib on the Fortuna to be…fine. Nothing special, but nice. I consider this consistency to be a good thing, actually, because at least you know what you’re getting. The nib writes well. I had no issues with the standard problems you might see: The tines were in alignment, there were no hard starts or skipping. I saw no sign of ink starvation on long writing samples.

That being said, there were some characteristics of the nib which didn’t get me bouncing up and down in my seat. For starters, the nib is hard as a nail, which is to be expected for a steel nib. At a list price of nearly $300, I would have loved to see a 14k or 18k nib with a bit of bounce. The nib has a moderate ink flow, but with a line width that is almost a full size narrower than you might expect from a European nib based on its designation. The nib is a bit toothy as well, as though the outer margins on the nib weren’t quite polished all the way into a “round” state. Most of these issues are easily adjustable, however, so while the nib didn’t cause me to break into a verse of the Hallelujah Chorus, it certainly fit into the “good” category.

One other minor complaint I have with the pen is about the white section. Because the pen doesn’t have a highly-polished surface, sometimes it can be a bit of a pain to clean all of the ink off of the section after filling the converter through the nib. The ink will usually come right off in water, but if you’re trying to do a dry wipe with a cloth or paper towel, you may still end up with a couple of inky indents on your grip fingers from holding the section.

Overall the Fortuna is a nice, if not insanely enthralling, pen. The design is clean, streamlined, and unobtrusively attractive, but it follows a contemporary design aesthetic. It is a pen that feels modern, not a throwback to an older design or older time. It feels very nice in the hand, and writes quite well, but the nib isn’t the most wonderful I’ve ever seen, which is disappointing for a pen of this price point with a steel nib. (If you’re going to charge this much for a steel-nibbed pen, that nib better be incredible.)

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Claudia Rankine is the winner of the 2015 PEN Open Book Award for Citizen: An American Lyric, a provocative meditation on race in contemporary American society. The following is an excerpt from the book.

You and your partner go to see the film The House We Live In. You ask your friend to pick up your child from school. On your way home your phone rings. Your neighbor tells you he is standing at his window watching a menacing black guy casing both your homes. The guy is walking back and forth talking to himself and seems disturbed.

You tell your neighbor that your friend, whom he has met, is babysitting. He says, no, it’s not him. He’s met your friend and this isn’t that nice young man. Anyway, he wants you to know, he’s called the police.

Your partner calls your friend and asks him if there’s a guy walking back and forth in front of your home. Your friend says that if anyone were outside he would see him because he is standing outside. You hear the sirens through the speakerphone.

Your friend is speaking to your neighbor when you arrive home. The four police cars are gone. Your neighbor has apologized to your friend and is now apologizing to you. Feeling somewhat responsible for the actions of your neighbor, you clumsily tell your friend that the next time he wants to talk on the phone he should just go in the backyard. He looks at you a long minute before saying he can speak on the phone wherever he wants. Yes, of course, you say. Yes, of course.

"You and Your Partner" by Claudia Rankine is excerpted from Citizen: An American Lyric, published by Graywolf Press. Copyright © 2014 by Claudia Rankine.


Read more from the 2015 PEN Open Book Award Finalists

•  "The Messenger," from City Son by Samrat Upadhyay
•  "Amina," from Every Day Is for the Thief by Teju Cole
•  "Our Own Maps," from An Untamed State by Roxane Gay
•  "The Beiruti Hustle," from An Unnecessary Woman by Rabih Alameddine

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Roxane Gay was shortlisted for the 2015 PEN Open Book Award for An Untamed State. In the novel, the strong-willed youngest daughter of one of Haiti’s richest sons is kidnapped in broad daylight by a gang of heavily armed men in front of her father’s Port au Prince estate. The following is an excerpt from the book.

Even hours after he stalked out, the Commander’s threat lingered, trapped in the thick heat of my cage. I whispered my father’s words. There is nothing I cannot get through if I try hard enough. My chest throbbed, my breasts still swelling, rock hard. Leaking milk spread over the cotton stretched across my chest. I had never planned on breastfeeding Christophe but when I first held him, so soft and mewing, his tiny lips quivering as they sought my breast, I couldn’t help but hold him to my chest; I couldn’t help but give him what he needed. Now, my son was alone with his father, needing me and there was nothing I could do. I gritted my teeth.

Growing up, my father told my siblings and me two things—I demand excellence and never forget you are Haitian first; your ancestors were free because they took control of their fate. When he came home from work each night, he’d find us in our corners of the house and ask, “How were you excellent today?” We needed to have a good answer. If he approved, a rare thing, he smiled, squeezed our shoulders. If he disapproved, he’d remove his glasses and rub his forehead, so wearied by our small failures. He would say, “You can be better. You control your fate.”

His disapproval was constant and quiet and exhausting. Mona and Michel largely ignored my father’s demands but as the youngest, I took him very seriously, made myself sick with the pursuit of perfection, the better he might love me for it. I had near-perfect recall of most everything I ever saw or heard or read—I was just lucky in that way. It wasn’t so difficult to become excellent. My memory drives the people in my life crazy because I remember everything, always, in exacting detail. My memory was a gift until it became a curse, until no matter how hard I tried, I couldn’t forget things I desperately needed to forget so I might survive.

One day, when we were fooling around, my brother and sister and I found a secret world about a mile from where we lived—an undeveloped tract of land with a small creek and lots of trees, all beyond a steep hill. People would go there to throw away their junk so there were always new, interesting things to play with and explore. We called it Pitfall, like the Atari game, and whenever we were done with our homework, we would jump on our bikes and head to a place where we weren’t Haitians in America or Americans in Haiti, where we could make our own rules and draw our own maps. We only wanted to understand some small part of the world.

As I waited for something to happen, I began to draw a mental map of where my kidnappers were holding me, to make sense of this world I wanted no part of. That’s what my father would want—for me to take whatever control I could. Starting at the door, I pressed my hand against the wall and began counting out the number of paces it took to walk the length of each wall—seven steps, ten steps, seven steps, ten steps. I tried to memorize these measurements; I tried to understand the terrifying shape of the walls holding me.

I wasn’t tall enough to look out the window so I overturned the large bucket and stood on it. The window looked onto an alley littered with trash. Occasionally I saw the legs of a passerby. When I banged on the window, no one paid me any mind. “Help me,” I shouted, until my throat hurt. “Please help me.” Sometimes, a pair of legs stopped then quickly walked away.

This was not the Haiti my parents wanted to return to, this land of mad indifference. They remembered the country differently, almost fondly, and the beauty of their island only blossomed the further through time they moved away from it. Like most people, they, or at least my father, created a Haiti that only exists in his imagination—a country that would willingly embrace him.

"Our Own Maps" is excerpted from An Untamed State © 2014 by Roxane Gay; reprinted with permission of the publisher, Grove Atlantic, Inc.


Read more from the 2015 PEN Open Book Award Finalists

•  "The Messenger," from City Son by Samrat Upadhyay
•  "You and Your Partner," from Citizen: An American Lyric by Claudia Rankine
•  "Amina," from Every Day Is for the Thief by Teju Cole
•  "The Beiruti Hustle," from An Unnecessary Woman by Rabih Alameddine

Literary Awards
Fiction
2015 Literary Awards
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Material: Resin
Nib: 14k Gold
Appointments: Rhodium-plated
Filling System: Pilot Proprietary Cartridges/Converters
Length (Capped): 139mm
Length (Uncapped): 124mm
Length (Posted): 158mm
Section Diameter: 11.1mm
Barrel Max Diameter: 12.5mm
Cap Max Diameter: 16mm
Weight, Uncapped (with ink and/or converter): 14g
Weight, Capped (with ink and/or converter): 24g

One of the questions I get asked the most from fans and viewers of The Pen Habit is, “What modern pen has the best flex.” Flexible nibs gets talked about (and drooled over) so much in this hobby that many times, new FPV (fountain pen virus) victims want to get into flex, but don’t want to spend the money or deal with the inevitable difficulties that come from vintage flex. Goodness knows that, as I have journeyed through the fountain pen hobby myself, I too have had that issue. I, like many folks, first tried a Noodler’s “flex” pen, and found it…lacking. I then got a Pilot Falcon, lured in by that video (you all know the one I’m talking about.) Eventually, I bit the bullet and won a real vintage pen with a vintage flex nib, and I finally understood why people continued to tell me, “If you want flex, you have to go vintage.” As time has gone on, I’ve come to parrot that same mantra, especially when vintage flex can be had for quite reasonable prices. But I understand: vintage can be a crap shoot, and vintage pens come with their own limitations and problems. And not all fountain pen users necessarily want to have to deal with those. So they want modern flex.

While I understand and agree that modern flex is vastly inferior to vintage flex, that hasn’t stopped me from continuing to search for and appreciate modern pens that have some give. I like the Extra Flessibile nibs on the OMAS high-end pens. I like the Dreamtouch nibs on my Viscontis. I love the bounciness of the nib on my Pelikan M1000. I even like the feel of the Titanium T-Flex nib on my Stipula Model T. I’ve learned that I appreciate a nib with give. It makes my writing look better, and I prefer the way it feels when I put nib to paper. If given the option, I will always choose a bouncy, semi-flex, or flex nib over a rigid nib. It’s just my preference.

It was that preference that led me to try the Pilot Custom Heritage 912 with the FA, or Falcon, nib. (This is not to be confused with the nib on the Pilot Falcon, which is a “soft” nib…it’s very convoluted so I’ll just call it the FA nib from here on out.) I had seen several reviews of the FA nib online, and was intrigued. It wasn’t without its quirks, but clearly, this was a nib that could put out a whole heck of a lot of line variation. But it had never been available in the US, and I wasn’t yet comfortable ordering from overseas. (A fear, I’m sure you’ve noticed, that I have LONG since overcome.)

P1020128

The 912 with an FA nib became available via Pilot USA several months ago, about the same time that I got over my irrational fear of international purchases and ordered the pen from a Japanese eBay seller. Pilot pens and I have a bit of a storied past. Without recapping it here in full, I have always appreciated the workmanship of Pilot pens, but haven’t seen eye-to-eye with the community about the overall amazingness of them. It turns out that the Custom Heritage 912 is the Pilot pen I had been looking for all along.

Like most of Pilot’s production-line offerings, the Custom Heritage 912 (heretofore known as just the 912 because I’m a lazy, lazy man) is a streamlined, understated, professional looking pen. It is a standard-shaped pen with flat ends, almost identical in design to the Sailor Professional Gear, albeit a bit longer and a touch slimmer. The pen is made from black, ingestion-molded plastic, polished to a mirror-like piano black shine. It features classical, restrained, rhodium-plated furniture.

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The clip is flat and bill-like, with design cues taken from Pelikan’s clips. The cap flares out slightly, coming to a couple of cap bands, the larger of which features the words “CUSTOM HERITAGE 912 PILOT JAPAN.” The threads between the cap and the barrel are slick as hot-buttered glass, and the cap can be unscrewed with only 1 1/2 revolutions.

The barrel of the pen has a very slight outward bow before it tapes down to another silver washer and the flat black finial. The pen has a fairly standard, slightly concave section. The section itself is plastic, but the core of the section, as well as the threaded tenon that connects it to the pen’s barrel is metal. This gives the pen a nice bit of extra heft, and lends to a pen that feels much more solid in the hand than some of Pilot’s other offerings (e.g., the Falcon).

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What’s particularly special about this pen, as mentioned previously, is the FA nib. While I have yet to find a modern pen that can compare completely with the vintage 14k gold flex nibs, the 14k gold FA nib on this Pilot 912 comes closer than any other pen I’ve ever tried. The nib is long and slender, and has semi-circular cutouts just behind the shoulders to lend the tines extra flexibility. You can get really ridiculous line variation out of this nib, assuming the ink will cooperate with you. (More on this momentarily). Where the FA nib falls down in comparison to vintage nibs is in its responsiveness, or what I like to call “snapback.” The nib can get crazy line varation, but it tends not to be as snappy returning to its original position. It lends an ever-so-slightly spongy quality to the flex feel.

Despite that, writing with this nib is a lot of fun. It takes very little pressure to flex the tines, so even if you don’t “flex” the pen, you’re going to get some attractive line variation. The nib’s point when not flexed is very fine, and gives a bit more feedback than I generally like. I’ve come to realize that this is pretty common for flex pens, especially those with very fine points when not flexed, and I now can appreciate the feedback as part of the whole flex thang. It takes a little getting used to (like all flex nibs) but once you get into the flow of the nib’s “bounce,” it results in a very enjoyable writing experience.

All is not sunshine and daisies, however. There are a couple of issues that plague this pen. The first is ink flow. Flex writing requires a lot of ink. And unfortunately, this pen just doesn’t seem designed to deliver the volume of ink that the nib requires to work all of the time. It also tends to be very persnickety about which inks it likes for flex and and which ones it does not. The problem, I believe, can be tied to two aspects of the pen: the converter and the feed.

Like all of Pilot’s pens, the 912 can accept the CON-20 (aerometric), the CON-50 (piston), and the CON-70 (button) converters. The CON-20 and CON-50 are some of my least favorite converters on the market today. The CON-20 is cheap, the CON-50 has a miserably small ink capacity. The CON-70 is the largest and best converter of the Pilot offerings, but it is a real beast to clean. And based on some of the reading I’ve done, it can also be a large contributor to the ink flow problems in this pen. A recent post on the Google+ fountain pen group mentioned that disassembling the CON-70, cleaning the individual parts, lubricating everything, and reassembling it helped fix a pretty significant railroading problem for one user’s 912. It is unfortunate in this case that the pen’s tenon is made of metal, because otherwise, this pen would be an ideal candidate for eyedropper conversion.

The feed is the other part of this equation that appears not to have been fully thought out. In most vintage flex feeds I’ve come across, the feed itself is flat and broad, lacking all of the fins that are so common on modern pens. While I’m not an expert on fluid dynamics, I would assume that the flat feed with multiple, broad ink channels would be capable of serving a huge amount of ink to the nib, which is why, for instance, I have never once railroaded my Waterman’s Ideal #7. The feed on the 912, by comparison, is long and tall, with deeply-cut fins in the lower half of the feed. I haven’t disassembled my 912 (yet) but I likely will; I’ve read that many folks have had to remove the feed, deepen the ink channels in the feed and reassemble the pen in order to get ink flowing enough to eliminate railroading.

The pen is also sensitive to inks. I’ve inked my 912 with three different inks: one from Diamine (Red Dragon), one from Kaweco (Ruby Red), and one from Pilot (Iroshizuku Tsuki-yo). Of the three, it’s clear that the Iroshizuku is the highest performer—which makes sense. Likely, Pilot has tuned their nibs to work best with the properties of their own ink. The Diamine performed all right. The Kaweco was a disaster in this pen: Hard starts, skipping, railroading all over the place—it was ugly. Until I modify the feed on this pen, I suspect I’ll be limited to using it with Iroshizuku inks, which is fine because I really do love Iro inks. (I’ve got 15 of them, after all…)

There is one final “downside” to this pen I should mention. I have seen many folks, including several video reviewers, indicate that this pen has a tendency to skip or hard start. At the time I recorded the video above, I hadn’t seen this behavior at all. Recently, I have started seeing it a little bit, although only when I have been doing a lot of fast, semi-flex writing. If I go slow, or don’t flex the pen, I don’t have the issue. One user on the Google+ fountain pen group mentioned that his FA nibs needed a period of “breaking in.” And once he wrote with them heavily for a few weeks, the skipping and hard starting went away. I will need some more time with this pen to know for sure, but my guess is that any hard starts I’m seeing are a result of pushing the ink flow beyond the feed’s ability to keep up. If I end up modifying the feed to increase ink flow, then I suspect I will see the hard start issues go away entirely.

Like every Pilot pen I’ve ever used, the manufacturing quality of the pen is superb. Pilot clearly prides itself on top-notch manufacturing, tight tolerances, and thorough quality control. Unlike every Pilot pen I’ve ever used, I really loved the feel of this pen in the hand. I usually ended up using this pen posted, which is unusual for me, but I found that posting the pen actually helped to improve rhythm of my writing. While it does tend to make the balance a touch back-heavy, it also seemed to help me keep the pen at a better angle for flex writing.

I also, surprisingly, love the way the pen looks. As I mentioned above, the pen’s design is similar to the Sailor Profesional Gear, but I find that I like the look of the 912 a little more. The measurements of the pen seem better-proportioned. It looks refined, and classy. It’s a power-pen. And while that’s not normally my style, this is is a black pen to which I find myself regularly drawn.

Despite the problems with the ink flow on this pen, I have to say that this 912 with the FA nib is easily my favorite Pilot pen experience thus far. It’s probably not the pen I would turn to for a daily carry pen, or for taking notes at work (although I have used it for that). Instead, this is the pen I reach for when I want to take the time to write a nice letter to a friend or loved one. I love what the nib’s bounce does for my handwriting, and I appreciate that Pilot, of all modern pen manufacturers, is actually trying to do something to resurrect the feel of a vintage flex nib. They’re not quite there, but they’re not very far off, either.

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Today (24 May 2015) at 11AM Pacific, 7PM GMT, I will be joining up with Stephen Brown for a live stream Q&A. This will be our first test of this system, and if all goes well, may become a regular thing.  Join on in!

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May 22 marks one year since the military coup in Thailand led by now-Prime Minister General Prayuth Chan-ocha, who seized power from Prime Minster Yingluck Shinawatra. Since the coup, rights to free expression have been widely and scathingly curtailed by Chan-ocha’s government, as have a number of other human rights, including association and assembly. According to Freedom House, Thailand classifies as “Not Free” in regards to media freedom, and its global ranking has plummeted from #141 to #166 worldwide in the past year.

Adding to the deteriorating state of freedom of expression in Thailand, on April 1, 2015, Chan-ocha issued Order Number 3/2558, formally ending martial law.  But under the Order, invoked under Article 44 of the junta-imposed interim constitution, the military junta will remain in power and new rules will allow for continued official censorship of the media, outlawing of political gatherings, and expansion of the military’s extrajudicial powers to search, arrest, and detain individuals for up to seven days without a court warrant or any formal charges. The vaguely worded Article 44 calls for “the prevention, abatement, or suppression of any act detrimental to national order or security, royal throne, national economy, or public administration.” Article 44 also provides the Prime Minister with unlimited powers, including authority over the judicial and legislative branches of government as well as total legal immunity. 

The formal end of martial law in Thailand is merely a veneer covering up, among many other attacks on civil rights, extensive restrictions on free speech and widespread censorship implemented from the start of the coup throughout the time Chan-ocha has been in power. At the onset of martial law, the ruling junta arrested several journalists and shut down numerous websites and broadcast media outlets. Later that year, the military junta issued Order 103, which outlawed any criticism of the junta’s National Council for Peace and Order (NCPO), and Order 97, which prohibited criticism towards the military authorities. In Thailand, defamation is a criminal offence, and Chan-ocha’s government has convicted writers and human rights activists on charges of defamation. Charges of defamation—particularly lèse majesté, or defamation of the monarch—have often been used against political opponents or those citizens advocating for human rights as a way to silence and intimidate critical voices and activists. Thus, it is clear that Order 3/2558 ending martial law is a brazen ploy to lure overseas business dollars back to Thailand while permitting the military to continue to violate the rights of the Thai population both within and outside the borders of Thailand.

Less than a month after martial law was "lifted," Thai authorities shuttered Peace TV, a station aligned with the elected government ousted during last year’s coup, for “airing content that leads to conflicts.” The secretary general of the National Broadcasting and Telecommunications Commission (NBTC), a government regulator, also announced that the NBTC would move to suspend or withdraw the licenses of nearly 200 radio stations for airing news critical of the government. Exacerbating the situation in Thailand have been General Chan-ocha’s recent remarks about executing any journalist that does not report “the truth”—his truth, which is highly subjective and depends on the whims of the regime.

These restrictions and threats posed by the military regime have caused a number of dissenting Thais to flee into self-imposed exile in fear of their lives and personal safety. Spread out among neighboring countries, as well as much further in Europe or the United States, these exiles live in defiance of the military junta’s restrictions on free expression. Some have even banded together to create the Free Thais for Democracy and Human Rights movement to discuss strategies and actions that would help unify their goals for democracy and human rights against the junta. Others, like filmmakers Wanchelearm Satsaksit and Neti Wichiansaen, are trying to combat restrictions on free speech in Thailand by interviewing Thai exiles in countries like the United Kingdom, Sweden, France, and Germany with the aim of creating a film to raise awareness about the challenges facing pro-democracy Thais inside and outside of Thailand today. However, the resolve of these exiles has been tested by many obstacles. Some have had their passports revoked by the military regime and therefore cannot obtain visas for entry into other countries that maintain ties with the Thai military regime or that appease of the Chan-ocha government, leaving many in residential limbo and yet unable to return to Thailand, their families, and their old lives.

The outcomes of the oppressive Order Number 3/2558—the ongoing crackdown to free speech within Thailand, the precarious situation of Thai dissidents in exile, and General Chan-ocha’s threatening verbal rhetoric—illustrate the extremely limited environment for free expression in and about Thailand since the military coup occurred a year ago. Continued advocacy by rights groups and individuals, as well as diplomatic pressure from governments, is needed to reverse these negative trends and help return Thailand to its earlier position as a beacon of openness in South East Asia.

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Material: Acrylic & Brass
Nib: 18k Gold
Appointments: Brass
Filling System: International Standard Cartridge Converter
Length (Capped): 141mm
Length (Uncapped): 123mm
Length (Posted): 163mm
Section Diameter: 11.3mm
Barrel Max Diameter: 14.5mm
Cap Max Diameter: 15.9mm
Weight, Uncapped (with ink and/or converter): 22g
Weight, Capped (with ink and/or converter): 32g

Although it may seem otherwise, I do actually have something of a personal limit to the amount of money I am willing to spend on a single fountain pen. Most people would look at my pen-spenditures and think I had lost my mind. (Frankly, I think that way half the time.)  But even I am taken aback by some of these modern fountain pens that cost several thousand dollars, and are so delicate in construction that they could never actually be used as writing instruments. At that point, they become works of fine art, not writing instruments. And while there’s nothing wrong with collecting fine art, it’s not where my interest lies.

My personal budget limits play a large part in why I had never heard of, let alone used, a fountain pen from the company Krone.  Named after the founder, Robert Kronenberger, most of the pens in Krone’s line are highly elaborate, hand-painted works that look more at home in a curio cabinet or under glass than in the board room. Some call them ornate. Others call them lurid. I generally fall somewhere closer to the latter camp. Despite my preference for flashy pens, I find most Krone designs to be too over the top even for me…especially at prices of up to and including $2,500.

When Fountain Pen Hospital had its semi-annual pen frenzy a couple of months ago, I came across what looked like a “production line” Krone fountain pen at a comparatively reasonable price. Plus, I really liked the unique design and decided I’d give it a try.

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The Krone Continuum comes in three finishes:  black with silver rings (Abyss), brown with brass rings (Aladabra), and blue with brass rings (Atmosphere.) I picked the Atmosphere version, although the Aladabra certainly intrigues me. The design features acrylic cylinders interspersed of ever-decreasing length with brass rings. The acrylic of the Atmosphere floats effortlessly between a rich, royal blue, and a shimmery, metallic sky blue with a lovely dose of chattoyance. The barrel of the pen tapers to a ridged brass finial with a flat terminus.

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The cap of the pen has a flat top with a bevelled corner. The cast brass clip is chunky, but streamlined, and features a shield with the Krone crown logo and a twisted rope motif around the edges. The clip attaches by a small slit cut into the cap and is firm while still being a bit flexible. I find it very easy to clip this pen to either a shirt pocket or the pocket of my jeans. At the base of the cap is a brass band with the same ridges that decorate the finial.

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The cap threads are superbly manufactured, and are both smooth and tight. It takes approximately 3 turns to uncap the pen fully. Upon removing the cap, you find a tapering section which leads to an attractive two-color 18k nib featuring some clean-lined scrollwork and the Krone logo. The plastic feed employed on the pen is a bit unusual, with vertical slits instead of the far more common horizontal fins usually seen on a feed.

The pen is a cartridge/converter pen, and comes with a fairly unimpressive (read: cheap) twist-style converter. (Mine got ink behind the plunger the first time I used the pen, and completely fell apart the first time I tried to clean it.) Fortunately, it does take standard-international converters and cartridges, so I was able to replace the lackluster included converter and get right back to writing.

P1010891

The pen can be posted, although I would not recommend it. With a heavy cap and heavy metal finial, the pen feels unbalanced. The metal of the cap band meshes with the metal of the finial, making for a very secure posting that is difficult to disengage. And posting the pen exposes a small design flaw. For some reason, the brass finial and some of the acrylic unscrew from the end of the barrel as though it was a piston-filler. By itself, this wouldn’t be a problem, but when coupled with a full-length converter, unscrewing the finial also manages to twist the converter’s piston, dumping ink on your hand. I discovered this first hand (pun intended) when I tried to un-post the pen for the first time, and had to twist the cap to get it to disengage. It was a very unfortunate premature ink-jaculation. At least the ink I was using at the time left a lovely sheen on my hands…

The Continuum’s nib is a good, if not glorious, writer. It has a forgiving sweet spot, but writes with a pretty significant amount of feedback.  The tines on my pen were fully in alignment, but the nib felt as though it had corners almost like an italic nib. If you like feedback, you may like the nib as it is. I will probably smooth it out a bit more.  The ink flow is moderate, but it handles long writing sessions with aplomb. It is a fairly rigid nib, but you can coax a decent bit of line variation out. Unfortunately, the feed doesn’t seem to be able to keep up, and the pen railroads quite easily if you do try to push the nib. Clearly it wasn’t designed for any sort of “flex” use.

One minor pet peeve I have is that the Continuum’s nib tends to dry out really quickly, even when the pen is capped. If I stop writing for 15-20 seconds, it will give me a hard start or two on the first letter before the ink starts to flow. After that, I have no issues with ink flow at all, even on long writing sessions.

I quite like the looks of the Krone Continuum. It is pretty comfortable in my hand, and features a unique design with lovely materials. Right now, I have a strong case of like for the Continuum. Once we start getting into the $250+ range, though, simply liking the pen isn’t quite enough for me. I have to love it, and it has to be a great fit. I suspect with some nib work, my case of like may turn into a case of love. I’m going to give it a bit more time to continue growing on me. Thus far, the more I use it, the more I like it. I hope that’s a trend that will continue.

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This week in the Guernica/PEN Flash Series, we feature a piece by Randall Horton, who participated in this year's PEN World Voices Festival. Subscribe to the series and get new flash delivered to your inbox twice a month—no spam or news, just stories.  

Answer the phone at 10:00pm EST. Offer a reserved hello on a nebulous night filled with pallid snow in Harlem. Be attentive when you learn he died in a hail of gunfire at the intersection of Minnesota Avenue and East Capitol Street in the nation’s capital. Hang up. You can and you can’t believe the truth. Write D-I-S-C-O in your leather journal. Maybe this will immortalize the image. You will never forget him, but you have already forgotten Hook.

Remember the cell doors opening after being closed for 18 months in Fairfax County Adult Detention Center. Five hours after that release you met Disco wheeling an ATM through your basement on a handcart. Out of the wall with metal chain and pickup truck he pulled the money machine. He did that. This was your introduction.

Turn on the computer. Type Theodore Blanford in the search box. Click the magnifying glass. Expect to be surprised even though you know what the results will bring. Don’t be surprised when you scroll to MARYLAND DOUBLE HOMICIDE SUSPECT SHOT, KILLED IN DC. One lone bird outside your window flies backwards at an indeterminate rate of speed while the world moves forward. The bird is red. Look for balance in the oddity. Note double-homicide is five syllables. Five deliberate pauses before damn. Remember you knew the suspect/shooter/killer. Suspend court in your imagination. Add four indeterminate words to formulate the phrase hold court in the streets. This is how he will die: holding court in the streets. Prophetic. After reading the now-deceased wife wanted a divorce, deduce it was because of drugs. Visualize the wife and sister just before death in their doublewide. Try to make sense of blood spilled on the carpet. The red is deafening. Scream. Wait for the buzz to stop because someone rung the wrong buzzer. There is always an echo after the buzzing. Even after it buzzes again, don’t answer. Keep reading the online article, specifically the phrases “forcible entry” and “protective order.” Acknowledge your friend was a suspect in his first wife’s murder, too. A dead body in the trunk.

Two days later while driving to New Haven to teach two classes, call Greg because it takes that long to find someone to talk about tragedy. Tell Greg, who is a barber and has ten years behind the razor wire tucked in his memory, what happened. Agree in unison prison will turn the brain into a hum. Agree again prison taught you to be a better criminal though you both digress. Both of you understand the term “anomaly” but admit Disco is a composite of many men who never learned to be a man. You will then ask the question for the first time. Why?

Teach The Black Arts Movement: Don’t Cry, Scream! and Poetic Form at the University of New Haven in Connecticut, return back home to Harlem, New York, before rush hour traffic bottlenecks the Cross County Parkway. Dig through the closet for the first version of your hope-to-be-published memoir. Disco rolled the safe out of the department store, the first lines of the paragraph read. Go to the next page to where he loves to pull the trigger of a gun more than he loves touching the torso of a woman. Flip to the page where Disco and his sister appeared at the right side of the car where Randy sat and fired, in rapid succession, eight gunshots into the windshield, the red and blue flames punctuate each shot fired. The body a question mark.

He tried to run over the wife with his truck and then threatened her with a claw hammer. She told the police. Ask yourself why this sign didn’t signify violence. What theory would Ferdinand de Saussure classify this as? Put the manuscript back in the closet. Don’t beat yourself up because you knew he was a killer and said nothing to nobody. Justify your silence. That’s why they called you Hook. Don’t block Audre Lorde’s your silence will not protect you from your mind. Pretend this is penance.

Wake up the next morning. Go back to the computer. Press any key to erase the black screen. Ignore the blackbirds outside your window while telling yourself this is the last time. Click INMATE VIOLENT DEATHS IN THE NEWS. A flutter of blackbirds appear suspended in animation at the top right corner of the webpage, ignore them but then don’t. Tell yourself this is not karma. He didn’t want her to leave. She wanted him to go. Said he needed treatment. Think back to 12-Step Literature, which cautions of the 13th Step, meaning: sexual fraternization with people inside the circle. Feel confident in assuming she was a recovering addict and understood addictive behavior. Two addicts don’t make a right. Tell yourself this.

Review the interaction with police who failed to notice the inevitable. Admit the judicial system is failing to protect women. I AM VICTIM was tattooed on her forehead, yet she remained invisible. Ask yourself, does his death matter more than the victim’s death? Convince yourself the race never stops running, that memory will eat you alive. Say I am a changed man but no one will hear you. Get back in the bed. Pull the covers over your face. Remember to dream. Forget Hook. Wake up tomorrow and feel guilty again.

A slightly different version of this piece is forthcoming in Randall Horton's book Hook: A Memoir through Letters (Augury Books, 2015).

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PEN American Center condemns the extension of Azeri investigative journalist Khadija Ismayilova’s imprisonment. On May 14, an Azeri court ruled to extend Ismayilova’s detention period to August 24. Ismayilova was arrested on December 5 of last year on the spurious charge of inciting a co-worker to commit suicide (her accuser has since asked that this charge be dismissed by the prosecutor); a slew of additional charges, including operating an illegal business and tax evasion, were added on in February. As she started her sixth month of imprisonment, Khadija was recently honored with the PEN/Barbara Goldsmith Freedom to Write Award for her audacious and dedicated journalism, which exposed corruption at the highest levels of government.  

“The extension of Ismayilova’s detention is a brazen move by the Azerbaijani government to further attempt to silence and intimidate Khadija and other investigative journalists,” said Karin Deutsch Karlekar, Director of Free Expression Programs at PEN American Center. “With less than a month to go until the European Games open in Baku, the government’s fear of those who speak truth to power has never been more apparent. We urge President Aliyev to reconsider this approach and to end the crackdown on free expression and human rights in Azerbaijan.” 

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Material: Aluminum and Plastic
Nib: Steel
Appointments: Steel
Filling System: International Standard Cartridge Converter
Length (Capped): 129mm
Length (Uncapped): 121mm
Length (Posted): 151mm
Section Diameter: 11.3mm
Barrel Max Diameter: 11.8mm
Cap Max Diameter: 15.7mm
Weight, Uncapped (with ink and/or converter): 28g
Weight, Capped (with ink and/or converter): 34g

When it comes to entry-level fountain pens, it seems as though the same two choices keep popping up over and over again: The Lamy Safari and the Pilot Metropolitan. I’ve made no secret of the fact that I just don’t care for either of those pens. Both provide an inexpensive, consistent writing experience. Consistency is all well and good, but that’s not why I go through the extra hassle of using fountain pens: I want a little zazz with my writing. And I just don’t get that with those two starter pens.

Faber-Castell Loom

When I purchased the Faber-Castell Loom fountain pen, I suspected I would feel similarly about it as I do about the Safari and the Metropolitan. I was expecting a decent writer, but nothing of particular note. My previous experiences with the brand led me to expect a modern design and a pretty good nib. But at $40 USD, what I did not expect was a pen that would shoot to the top of my list of “entry-level” pens. Color me surprised!

(To be fair, there are many who would not consider a $40 pen an entry-level pen, and that’s understandable. For my purposes, I consider any pen less than $50 to be entry-level.)

The Loom is a silver-colored metal-bodied pen that comes with caps in a wide variety of colors, including some pretty bright, neon offerings.  I opted for the more subdued “Metallic Silver” finish. Due to the nature of the matte finish of the pen, it can be a little difficult to tell at first glance which parts of the pen are metal and which are plastic, leading to a very uniform, clean-looking design.

Faber-Castell Loom

The cap is made of a silver plastic that is treated to look like Aluminum. It has a slightly bulbous profile, with a deep swell toward the center. The clip, which feels hinged (see the video for what I mean by this) is chromed metal, and quite chunky, with a modern-looking shape. The top of the clip is inset into the top of the cap, and was cast with the Faber-Castell jousting knights logo.

The rest of the barrel is made of metal (likely aluminum) and is completely cylindrical. The end of the barrel features an unusual, concave finial.

Removing the snap-on cap reveals a silverized, plastic section that tapers toward the nib. This appears to be fairly unusual for Faber-Castell pens, which often feature perfectly cylindrical sections. The section on the Loom features five slightly raised rings set at regular intervals which both provide a bit of textural interest on what would otherwise be a sparse design, and help the smooth plastic section from getting too slippery. It’s also of note how perfectly and smoothly the threads of the metal barrel mesh with the threads of the plastic section. The precision manufacturing which Germany is known for is very much in evidence on this pen.

Faber-Castell Loom

The pen posts nicely, with the light cap slipping onto the barrel deeply and securely without throwing off the pen’s balance. I actually prefer to use this pen posted—an usual choice for me—and find it a touch more comfortable with the extra length provided by the posted cap. The pen can be used without posting, but I find it on the short side.

The Faber-Castell Loom takes standard international converters and both long and short standard international cartridges. Unfortunately, as is common for the lower-end Faber-Castell pens, it does not come with a converter, which I find to be greatly unfortunate for any cartridge converter pen. Just throw in the $0.30 worth of plastic and stop trying to nickel and dime us. (I’m talking to you too, Lamy!) So, you’ll need to make sure to purchase a converter if you aren’t drowning in extra standard international converters like I am.

Faber-Castell Loom

Then, at last, we come to the nib. Simply put, the steel nib on this Faber-Castell Loom is superb. It is one of the most perfectly-tuned steel nibs I have ever used. The nib does not have a breather hole, and features “golf ball” dimpling across the nib’s face. It is quite smooth, with a wide, forgiving sweet spot. There is almost no feedback, and the nib is the perfect level of wetness to use as a daily workhorse writer on most types of paper (i.e., not too wet, not too dry.) The nib’s medium point sits right smack-dab on the middle of the “medium” spectrum. It’s not as wide as one of those giant Pelikan mediums, nor as fine as a Japanese medium. It’s “just right.”

Writing with the Loom is a joy. It’s comfortable in the hand, and its textured, contoured grip fixed the only real problem I had with the Faber-Castell Ambition or Basic pens.  The pen has some  heft, but it is not so heavy as to be tiring. Ink starvation through this pen’s plastic feed has been completely non-existent. I have never had to prime the feed with cartridge or converter. It just writes. Every time. Without any problems. Much like the other most-recommended entry-level pens, the Loom is a consistent writer. It’s well-built, and very solid. But the nib on the Loom is so enjoyable, that the Loom gives me the “zazz” I am missing in the Safari or the Metropolitan.

I could not be more impressed with Faber-Castell’s Loom. It is a superbly-manufactured pen that looks nice, writes wonderfully, and feels good in the hand. At $40, this pen feels and writes as well as many more than three times its price. These days, when someone asks me what type of pen I recommend for a new fountain pen user, I tell them about the Loom. Yeah, it’s more expensive than a Lamy Safari. But for less than $50, this pen is a rockstar in my book.

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Washington, D.C., May 11, 2015 - The Campaign for Reader Privacy, a coalition including PEN American Center and booksellers, publishers, librarians, and authors, is asking the House of Representatives to quickly pass without weakening the bi-partisan USA FREEDOM Act of 2015 and is urging the Senate to rapidly take similar action. The House Judiciary Committee recently approved the bill, H.R. 2048, by a vote of 25-2, and it is expected to come up for a vote on the House floor this week. The legislation would restore some privacy safeguards to the government’s surveillance activities and would, among other things, end the bulk collection of data under Section 215 of the USA PATRIOT Act. 

The Campaign for Reader Privacy, comprising the American Booksellers for Free Expression, the American Library Association, the Association of American Publishers, and PEN American Center, was created in 2004 to safeguard the integrity of the library and bookstore records of ordinary Americans from unwarranted government intrusion under the PATRIOT Act.  To this end the Campaign has sought to change the standard under which the government can seize sensitive records under Section 215 from one of “relevance” to an ongoing terrorism investigation to an individualized standard of suspicion, i.e., requiring the government to show a connection to a suspected terrorist or spy.

While the FREEDOM Act retains the “relevance” standard, the new legislation greatly reduces the danger that Section 215 can be used by the government to conduct “fishing expeditions” in bookstores and libraries by requiring that all Section 215 orders include information identifying a specific person or account.  In addition, the FREEDOM Act contains other privacy and free speech safeguards, including added protections for non-disclosure orders associated with Section 215 and National Security Letters.  

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