New Nook Refocuses on Act of Reading


I was frankly disappointed in the Nook Color. While it was great in terms of sales – and those sales help support the existence of brick and mortar, Barnes and Noble bookstores – I didn’t like the move from e-ink to LCD. The idea behind e-ink was to better mimic the experience of reading a physical, paper book by eliminating the back lit effect of reading on a computer.

By moving to LCD screens, the Nook Color made itself into an affordable entry in the tablet computer market and is possibly better for perusing photograph heavy magazines, but seemed to move away from the central function of reading (and as far as the magazines go, I prefer magazines heavier on the written word than on photographs).

Well, Barnes and Noble is now unveiling a new Nook that returns to the e-ink screen, while adding a touch screen.

To me, going back to e-ink sounds like progress.

Book Reviews


What is the value of professionalism in book reviewers? How much more valuable are they, if at all, than amateur book reviewers? What are the criteria for ‘professionalism’ in book reviewing?

As blogs (like this one) and other new media invested in books proliferate and as Amazon’s customer reviewers rival the New York Times for influence, this becomes more of an issue.

Though I am clearly on the amateur side (with sad pretension of more, but that is all) in terms of my own reviewing, I come down on the side of ‘professionalism’ in reviewing as a necessary aspect of maintaining our culture.

It is not just a question of gatekeepers. It is also a question of specialized knowledge and education and the benefits they impart.

Read this article for more on the suggested limitations of a reliance on sources like Amazon reviewers.

E-Readers Not Ready for College


The University of Washington attempted an experiment to measure the relative utility of e-readers in a collegiate environment.

The result? Paper books still reign supreme.

The Decline of Paperbacks


As e-books become a larger and larger part of the book market, it seems that the biggest target will be mass market paperbacks.

For what this article calls a “book reader” (as opposed to a “book owner”), e-books are an obvious replacement for mass market paperbacks.

Purchasing hard cover books and even trade paperbacks is more of an event buy. One is putting down a little bit more money for the unique experience of a desired physical book. But mass market paperbacks are the books printed to be read on subways and airplanes or impulse buys because they monetary outlay isn’t great. As a result, they are the closest competitors to e-books.

I’d hate to see them go. If you, like me, are a genre fan, then you have spent a lot of time with the mass market paperback. In my case, it’s science fiction and fantasy, where only the biggest names see the light of day as a hardback tome and where thousands of new books are produced as those small paperbacks that populate my shelves.

There’s something wonderfully egalitarian in the nature of the sci fi paperback, as well as an attachment to its history in the pulps. It’s inexpensive nature made it so easy as a young man browsing the shelves at Waldenbooks or B. Dalton’s in some mall or other to take a chance on an unknown writer based on a combination of cover art and the description on the back.

Used Books


The annual Flower Mart was taking place at the National Cathedral the other weekend. A wonderful used book sale was also taking place on the Cathedral grounds underneath a long tent.

I found some lovely books and LPs, though I missed out on an anthology of stories by John Campbell, better known as the editor of Astounding Stories, where he ushered in the Golden Age of Science Fiction,  publishing early stories by Isaac Asimov, Ray Bradbury, A.E. Van Vogt, Robert Heinlein, and Andre Norton. I would even go so far as to say that Campbell was the Maxwell Perkins of sci fi – driving his writers in the direction of more and better characterization and hard science. Of course, after the Golden Age era of the late thirties and the forties, both he and the magazine he edited became better known for crackpot conservatism, new age-y hocus pocus, and a racism that was both weirdly expressed and unforgivable.

What I did pick up included Virgil, Jorie Graham, Otto Rank, and Goethe; along with vinyl records including a Glenn Gould performance of Bach’s The Well Tempered Clavier and Leonard Bernstein conducted performances of Mahler and Beethoven (which, much like reading Heidegger on Nietzsche, one listens to more for Bernstein’s vision than the composer’s).

Will I live to see the day come when printed books, like vinyl, are only available used? Or else in limited release, deliberately anachronistic editions that merely supplement the work in some other form (like REM’s orange tinted vinyl pressed single of Orange Crush, released to help generate buzz for the album on which it appeared, Green)?

After all, I am still old enough to faintly remember the days before cassette tapes fully replaced vinyl LPs.

In such an event, it becomes to easy to envision one’s self as a cantankerous old recluse, surrounded by the detritus of a dead age: manual typewriters with each ribbon wrung dry of the last particle of ink before being replaced, fountain pens, mouldering books with brittle pages, and vinyl records etched by time with deep scratches, skips, and crackles.

French Publishers versus Google Books


After getting its settlement proposal in America shot down by judge for not doing enough to avoid screwing authors, three publishers in France, including the legendary Gallimard, are suing them each volume Google digitized from their backlist.

It’s getting harder and harder for the producers of creative content – like writers – to receive the benefits of their work. Yes, I use Google, but that doesn’t preclude me from asking if there are not now violating their old dictum against being evil. Arguably stealing the work of writers without compensating is surely touching on evil, is it not?

Book Readers versus Book Owners


I’ve never really contemplated whether there was a distinction before, but this New Yorker article asks the question.

‘The Book Is Dead’? Let That Myth Rest in Peace – The Atlantic


I just wanted to link to this hopeful sounding article from The Atlantic.

The piece looks at the same information reported here, but sees not just a silver lining, but an unbroken tradition of humans reading. For cuneiform to e-readers, as it were.

As the author (Peter Osnos) states: “My view is that books are being read, but the means of delivery are changing.”

I pray he speaks the truth.

The Primacy of the Author vs the Recipient


I was reading Alan Kirby’s article The Death of Postmodernism in that most accessible (to laypersons like myself) of philosophical journals, Philosophy Now.

The title is a misnomer – no doubt picked for a certain spectacle and shock value, rather than a true reflection of the content – as the article is more an effort to describe what has following/is following/will follow post-modernism than a post-mortem on the post-modern.

The distinction he makes strikes me. Even in post-modernism, when a book was printed, an artwork created, it existed irrespective of any consumer of that book or that artwork. But Kirby posits that the more purely electronic and ephemeral products of post-post-modernism only exist in the reception by a viewer. They have no existence beyond that (does an email, hanging in cyberspace, exist if the recipient never opens it?). As for ephemerality, versus the relative solidity of a printed book, well, let me just suggest you try to find your Facebook status updates from four years ago.

Dire News for Book Publishing Industry?


Another day, another article about the death of book publishing due to e-books.

My main concern is how online only stores like Amazon and online only methods of purchasing and reading books like e-books reduce that old-fashioned activity known as browsing.

Especially for someone like myself, whose book buying habits lean towards niche tomes, I depend on various forms of browsing to discover new books. While some of those forms of browsing are online, the publishers themselves depend on dedicated booksellers in brick and mortar locations to keep them, if not in the black, at least marginally out of the red.