Apple still doesn’t recognize paragraph-less books as works of art. For a company obsessed with design and the self-promoted belief that they are the creative industry, they sure don’t have much of an imagination. Actually, it’s way worse than that and points to the overriding flaws in today’s capitalist-scientism ideology that defines, in subtle and not so subtle ways, what we’re allowed to do and think.
Innovation is just a “format error.”
Fuck you, Apple.
Dear University of Rochester,
Your content, Zone, has one or more issues that must be resolved.
Ticket #: 2304611
Ticket Type: Book Asset
Apple ID: **********
Vendor ID: 9781934824832
Changes requested in the ticket were not executed. The ticket has been returned to you for corrections. To resolve this ticket, you must make all the changes requested below and redeliver your content.
Full book asset
The book must contain proper formatting. Paragraph indents or line breaks after paragraphs are required.
The book content must not overlap or lack proper spacing.
Jun, 27 2013, 2:34 PM – Apple
Issue remains: Please include indents before paragraphs and/or blank lines between paragraphs. See the iBookstore Formatting Guidelines, section 12.8.
Jun, 18 2013, 11:54 AM – Apple
-Please include indents before paragraphs and/or blank lines between paragraphs. See the iBookstore Formatting Guidelines, section 12.8.
We can’t insert things that don’t exist, you morons. Why don’t you go back to worshipping Steve Jobs’s ashes and quit censoring your stupid iBookstore that NO ONE uses.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .