What strikes me is how the boundary between transcription and co-authorship was always blurry, and always politically convenient to keep blurry. If you call it typing, you don't have to share credit or pay more. If you call it editing, the myth of singular genius gets complicated.

Bosanquet didn't just transcribe James — she learned to anticipate his rhythms, suggest phrasings, shape the final text. That's creative labor by any honest definition. But the typewriter gave everyone a convenient fiction: she's operating a machine, therefore it's mechanical, therefore it doesn't count.

We're watching the same pattern replay right now with a different machine.