In March, the graphic artist Susan Kare, who is best known for designing the fonts and icons for the original Apple Macintosh, was awarded a medal of recognition from the professional organization AIGA. It occurred to me to write a post about her work, but when I opened a gallery of her designs, I found myself sidetracked by an unexpected sensation. I felt happy. Looking at those familiar images—the Paintbrush, the Trash Can, even the Bomb—brought me as close as I’ve come in a long time to what Proust describes after taking a bite of the madeleine in the first volume of In Search of Lost Time:
Just as the Japanese amuse themselves by filling a porcelain bowl with water and steeping in it little crumbs of paper which until then are without character or form, but, the moment they become wet, stretch themselves and bend, take on color and distinctive shape, become flowers or houses or people, permanent and recognizable, so in that moment all the flowers in our garden…and the good folk of the village and their little dwellings and the parish church and the whole of Combray and of its surroundings, taking their proper shapes and growing solid, sprang into being, town and gardens alike, from my cup of tea.
In my case, it wasn’t a physical location that blossomed into existence, but a moment in my life that I’ve tried repeatedly to evoke here before. I was in my early teens, which isn’t a great period for anyone, and I can’t say that I was content. But for better or worse, I was becoming whatever I was supposed to be, and throughout much of that process, Kare’s icons provided the inescapable backdrop.
You could argue that nostalgia for computer hardware is a fairly recent phenomenon that will repeat itself in later generations, with children who are thirteen or younger today feeling equally sentimental toward devices that their parents regard with indifference—and you might be right. But I think that Kare’s work is genuinely special in at least two ways. One is that it’s a hallmark of perhaps the last time in history when a personal computer could feel like a beguiling toy, rather than an indispensable but utilitarian part of everyday life. The other is that her icons, with their handmade look and origins, bear the impression of another human being’s personality in ways that would all but disappear within a few years. As Alexandra Lange recounts in a recent profile of Kare:
In 1982, [Kare] was a sculptor and sometime curator when her high-school friend Andy Hertzfeld asked her to create graphics for a new computer that he was working on in California. Kare brought a Grid notebook to her job interview at Apple Computer. On its pages, she had sketched, in pink marker, a series of icons to represent the commands that Hertzfeld’s software would execute. Each square represented a pixel. A pointing finger meant “Paste.” A paintbrush symbolized “MacPaint.” Scissors said “Cut.” Kare told me about this origin moment: “As soon as I started work, Andy Hertzfeld wrote an icon editor and font editor so I could design images and letterforms using the Mac, not paper,” she said. “But I loved the puzzle-like nature of working in sixteen-by-sixteen and thirty-two-by-thirty-two pixel icon grids, and the marriage of craft and metaphor.”
That same icon editor, or one of its successors, was packaged with the Mac that I used, and I vividly remember clicking on that grid myself, shaping the building blocks of the interface in a way that seems hard to imagine now.
And Kare seems to have valued these aspects of her work even at the time. There’s a famous series of photos of her in a cubicle at Apple in 1984, leaning back in her chair with one New Balance sneaker propped against her desk, looking impossibly cool. In one of the pictures, if you zoom in on the shelf of books behind her, it’s possible to make out a few titles, including the first edition of Symbol Sourcebook by Henry Dreyfuss, with an introduction by none other than R. Buckminster Fuller. Kare has spoken highly of this book elsewhere, most notably in an interview with Alex Pang of Stanford, to whom she explained:
One of my favorite parts of the book is its list of hobo signals, that hobos used to contact each other when they were on the road. They look like they’re in chalk on stones…When you’re desperate for an idea—some icons, like the piece of paper, are no problem; but others defy the visual, like “undo”—you look at things like hobo signs. Like this: “Man with a gun lives here.” Now, I can’t say that anything in this book is exactly transported into the Macintosh interface, but I think I got a lot of help from this, just thinking. This kind of symbol appeals to me because it had to be really simple, and clear to a group of people who were not going to be studying these for years in academia. I don’t understand a lot of them—“These people are rich” is a top hat and a triangle—but I always had that at Apple. I still use it, and I’m grateful for it.
And it seems likely that this was the “symbol dictionary” in which Kare discovered the Bowen Knot, a symbol once used to indicate “interesting features” at Swedish campgrounds, which lives on as the Command icon on the Mac.
According to Kare, the Bowen Knot originally represented a castle with four turrets, and if you’re imaginative enough, you can imagine it springing into being from the keys to either side of the space bar, like the village from Proust’s teacup. Like the hobo signs, Kare’s icons are a system of signals left to those who might pass by in the future, and the fact that they’ve managed to survive at Apple in even a limited way is something of a miracle in itself. (As the tech journalist Mike Murphy recently wrote: “For whatever reason, Apple looks and acts far more like a luxury brand than a consumer-technology brand in 2018.” And there isn’t much room in that business for castles or hobo signs.) When you click through the emulated versions of the earliest models of the Macintosh on the Internet Archive, it can feel like a temporary return to those values, or like a visit to a Zen garden. Yet if we only try to recapture it, we miss the point. Toward the end of In Search of Lost Time, Proust experiences a second moment of revelation, when he stumbles in a courtyard and catches himself “on a flagstone lower than the one next it,” which reminds him of a similar sensation that he had once felt at the Baptistry of St. Mark in Venice. And what he says of this flash of insight reminds me of how I feel when I look at the Happy Mac, and all the possibilities that it once seemed to express:
As at the moment when I tasted the madeleine, all my apprehensions about the future, all my intellectual doubts, were dissipated. Those doubts which had assailed me just before, regarding the reality of my literary gifts and even regarding the reality of literature itself were dispersed as though by magic…Merely repeating the movement was useless; but if…I succeeded in recapturing the sensation which accompanied the movement, again the intoxicating and elusive vision softly pervaded me, as though it said, “Grasp me as I float by you, if you can, and try to solve the enigma of happiness I offer you.”