OK, so first off, for anyone who saw my little Facebook hissy fit last night about Bookish, I apologize. I may have overstated things a bit (yeah, I know that totally doesn’t sound like me), and jumped the gun a bit on some of my insults.
That said, and before I get more fully into the Bookish conundrum, a few of the things I posted last night remain true:
When I was growing up my dad always told me, “Townes, college will be the best four years of your life.” He was rarely wrong about anything, so I couldn’t have been more excited to head off to school. High school was the minor leagues, and I was ready for the big show. Ready to walk onto the field under the lights, throw up on home plate, kick the catcher in the balls, and charge the mound.
By this point in time, a good number of you are wondering, Just what the hell is Bookish, and why is Chad being such a douche?
Basically, Bookish is supposed to be the “Next Big Thing” allowing readers—especially those who don’t go to bookstores or talk to people—to find out what books they should buy and read. And basically, after years of waiting for Bookish to come out, I’m extremely disappointed. And I’ve yet to learn how to express my disappointment in mature ways.
But let’s start at the beginning . . . Or rather, let’s start with this PW article about Bookish’s launch:
After three CEOs and a number of delays, Bookish launched at 9 p.m. Monday with approximately 2 million ISBNs from 19 publishers and a search recommendation function that its founders hope will make it easier for consumers to discover books. To help draw traffic to the Web site, Bookish will feature exclusive content about books and authors and will work with USA Today to integrate Bookish into the newspaper’s book page site.
That’s quite an opening paragraph—one that opens up a ton of things to pick apart. Let’s start with that “three CEOs and a number of delays” statement.
I’m trying to remember when I first heard about Bookish. I’m guessing it was around the time that the New York Times ran this article about a new “One Stop” Book Site—May 6, 2011. From the article:
Publishers have spent a lot of time and money building their own company Web sites with fresh information on their books and authors. The trouble is, very few book buyers visit them.
In search of an alternative, three major publishers said on Friday that they would create a new venture, called Bookish.com, which is expected to make its debut late this summer. The site intends to provide information for all things literary: suggestions on what books to buy, reviews of books, excerpts from books and news about authors. Visitors will also be able to buy books directly from the site or from other retailers and write recommendations and reviews for other readers.
The publishers — Simon & Schuster, Penguin Group USA and Hachette Book Group — hope the site will become a catch-all destination for readers in the way that music lovers visit Pitchfork.com for reviews and information. [. . .]
“There’s a frustration with book consumers that there’s no one-stop shopping when it comes to information about books and authors,” said Carolyn Reidy, the president and chief executive of Simon & Schuster. “We need to try to recreate the discovery of new books that currently happens in the physical environment, but which we don’t believe is currently happening online.”
First off, who is this ridiculous reader who can’t find the “one-stop shopping” website named Amazon.com where they can find information about books and authors? Has Carolyn Reidy ever talked to this “book consumer”? I’m going to guess this is another instance of a publisher “knowing” what its readers want. (SPOILER! They rarely ever do.)
Instead of making fun of the fact that, as Reidy describes it, this site is 100% redundant and unnecessary, I want to riff on the part that I think is interesting: “The publishers hope the site will become a catch-all destination for readers in the way that music lovers visit Pitchfork.com.”
Once again, not to make fun of corporate CEOs and shills, but Jesus fuck is it clear that the people behind Bookish have never visited Pitchfork.com. And that’s the real tragedy that’s driving my piss-offedness.
For better or worse—better because it has an editorial voice, worse because 75% of the music criticism is poorly written—Pitchfork is an incredibly influential site for people interested in “contemporary music” (loosely defined). It is a place that a lot of music connoisseurs visit on a regular basis.
Why? Well, there is the news section, which, due to Pitchfork’s popularity and influence, has become one of the best outlets for bands to release information. But it’s my belief that most everyone comes there to read (and internally argue with) the daily reviews.
Every day of the week (more of less), Pitchfork reviews 5 albums, ranging in musical style from death metal to dubstep to indie rock to dancetronica. (Or whatever.) The point is that taken as a whole, these 25 reviews a week are a decent starting point for finding out what albums have just come out and whether or not they’re worth checking out.
A key feature of these reviews is the 10-point grading system. It can be useful, illuminating, and infuriating, but it does provide a snapshot of what a particular review/editorial source thinks of a certain album. For instance, so far this week, Thao & The Get Down Stay Down received a 7.5 for “We the Common,” Lightning Swords of Death received a 7.8 for “Baphometic Chaosium,” and The History of Apple Pie received a semi-dismissive 6.7 for “Out of View.”
Obviously, these numbers are subjective, and readers will often disagree (seriously, the Thao album is much better than that, and the 8.4 for Foxygen’s new album is ridiculous—the first is way better, and neither is all that interesting), but it’s a representative of a particular “taste-making voice.” Read it long enough and you’ll know what makes a Pitchfork album and what doesn’t. Of course they love Local Natives and find Buke & Gase a bit confusing. The point is, a huge group of music listeners go there to find out what albums are coming out and how this website assesses them.
What people don’t go to pitchfork for: to buy albums, add them to their “listened to!” shelves, or rate them. And that’s fine. This is a more traditional “discovery” site in that it represents a particular point of view, and offers guidance by evaluating products.
When I first heard about Bookish, the word on the street was that it would be a “Pitchfork for Books.” (See this post on Melville House that echos this belief.) I believed/hoped that this would be a site in which 3-5 books from a dozen different categories (fiction, business books, sci-fi, health, etc.) would be reviewed on a daily basis. That it would serve that critical “discovery” function in which readers (especially those not reading best-sellers) could find out what’s coming out and if they should seek it out.
THAT would be extremely valuable to readers, and would have the potential to become a “taste-making” book site that is respected by a wide range of readers. A site that could take over for the loss of newspaper reviews and position itself as more reputable than most blogs. Also, by actually focusing on books instead of publishing news or gossip, it would be pretty damn unique. Something for readers, not just insiders.
But that sort of book discovery isn’t sexy anymore. The Age of Screens is also the Age of Big Data. An editorial vision has been replaced by an algorithm. Why hire 20 editors to curate reviews and cultivate a reading community when you can get readers to
piss away spend their time entering in gobs of information about which books they’ve read, bought, and liked, and then crunch that data and recommend that the next book they read is Hunger Games?
(My luddite tendencies are at full-force today.)
Looking at Bookish, it’s clear that it’s definitely NOT the Pitchfork for books. Before getting into what it is, I need to explain a bit more about why it WOULD NEVER be the Pitchfork for books. And why it’s kind of evil.
First off, this site (and it’s rather corporate, lame name) is funded by Simon & Schuster, Penguin, and Hachette—three of the largest publishers in the country. (Especially if you consider Penguin being Penguin + Random House.) Can corporate publishers really ever be the “taste-makers” in the sense that Pitchfork is? Absolutely not. In fact, no publisher can/should. An independent group of smart readers evaluating all the books coming out and highlighting ones from commercial, indie, and university presses can have an editorial vision that gets passed along to readers. And even if Bookish has a separate staff, its editorial objectivity has already been compromised.
(Note that on the opening page of Bookish, you’ll find the tagline “We Know Books” above images of Tina Fey’s Bossypants and J.K. Rowling’s The Casual Vacancy. “We Know Certain Books” is a much more accurate statement.)
Secondly, a site that is aiming to sell books and feature advertising (mostly from it’s partent publishing companies), isn’t exactly in it to help readers . . . Or at least that’s not their only motive. Go back to Reidy’s seeming ignorance of that small start-up Amazon.com. Is that maybe intentional? It seems possible that these three publishers are thinking they could create their own Amazon, thus bringing them more profits and giving them more control over the way the books are presented and promoted.
Or MAYBE this is a way for the big presses to help out struggling independent bookstores? That would be pretty cool, since IndieBound kind of sucks, as do most indie store websites. From PW:
Any title bought directly from Bookish will be fulfilled by Baker & Taylor, which is also setting the price for the titles.
GodDAMN IT. Never mind. I should’ve known better than to think that a) this would be useful and cool and b) that it would be about more than just creating leverage for dealing with Amazon.
So what exactly is Bookish? Well, first and foremost, it’s a database of authors and titles that you can look at. PW again:
There are about 400,000 author profile pages as well as title pages for all books on the site and Bookish allows consumers to search for books in 18 major categories. Reviews from PW are also featured and customers can add reviews and rate titles as well. [. . .] In addition to titles from the founding partners—Penguin Group USA, Hachette Book Group, and Simon & Schuster—Bookish includes titles from 16 other publishers, a list that comprises the three other big six houses plus companies that range from Abrams to Workman as well as Perseus and all its distribution clients and the clients of IPG.
If you’re thinking GoodReads but with fewer books and options, you’d be right.
In which case, why did it take so damn long to launch? Initially this was supposed to be live in September 2011. It is now 2013. The moment for this site happened so long ago. At one point in time, I heard that the delay was due to one of the three CEOs wanting to create their own database of titles and metadata rather than pull it from some other source. Which, great, congratu-fucking-lations. You’ve just reinvented the wheel!
The core of Bookish is going to be its recommendation algorithm. And as much as I’d like these corporate publishers to put money into creating a review website featuring real readers, I do find the principles behind algorithmic recommendation tools really fascinating. So far, this one seems fine. My Two Worlds led to recommendations of Merce Rodoreda, Cesar Aira, and Isabel Allende. (OK, so it’s not fine, but passable?)
Other features on the website include the following:
Bookish’s home page will have new content each day and the site launched with an interview between Michael Connelly and Michael Kortya, an essay from Elizabeth Gilbert, and a look at the first chapter of Harlan Coben’s upcoming thriller Six Years. Excerpts, trailers and updated news will also be featured assembled by a team of seven editors overseen by Rebecca Wright, who is executive editor.
All of which feels pretty damn blah and corporate and void of personality. Why, come to think of it, it sounds pretty much like a website version of USA Today.
Bookish is counting on lots of pre-launch SEO work to help drive traffic as well as its collaboration with USA Today, a deal that replaces Bookish’s original media partner the AOL Huffington Post Media Group. USA Today readers who click on book information on the site will be linked to Bookish and the paper will syndicate Bookish content through its site.
Oh. Yeah. That. Congrats, S&S, Hachette, and Penguin! You accomplished your goal and disenfranchised interesting, intellectual readers once again.
Finally, in summary, this site is what it is. It’s no where near the Bookish I wanted and thought I was getting, but if there’s one thing we all know, it’s that corporate media dollars don’t often go to interesting things. But it’s GoodReads for other people. And a place that corporate publishing folks can buy their books without feeling like they’re betraying their employers. Again, all I can say is congrats.
But will it succeed? God, I can’t imagine that it will. There’s a huge First Mover problem going on with this site. One reason I thought it well could have been a Pitchfork with books is because that would make it something other than Amazon or GoodReads. Instead, publishers do what publishers do—copy what’s successful and dress it up a bit. Real innovation is hard to find at this level.
The point is, why would I stop buying from Amazon (if I don’t have huge moral issues), to go to Bookish? Why would I stop updating the GoodReads account I’ve been using for years to try and recreate it on Bookish?
Remember Riffle? Remember Google+? They both faced similar issues, and neither really overcame it. What I don’t understand is why these companies don’t get that. Create something actually new and you’ll get what you want. Improve slightly on what people are already sort of, pretty much satisfied with, and they’ll ignore you.
Here’s a brief description:
“Our program breaks a book up into 100 scenes and measures the ‘DNA’ of each scene, looking for 132 different thematic ingredients, and another 2,000 variables.” A reader can go to the BookLamp site, which was launched in beta last week, and do a keyword search for titles that meet the criteria similar to a title they plug into the site. Pundits have dubbed it the “Pandora for Books,” though Stanton prefers the term “Book Genome Project.”
“Say you’re looking for a novel like the The Da Vinci Code. We have found that it contains 18.6% Religion and Religious Institutions, 9.4% Police & Murder Investigation, 8.2% Art and Art Galleries, and 6.7% Secret Societies & Communities, and other elements — we’ll pull out a book with similar elements, provided it is in our database,” says Stanton. [. . .]
But can a computer really accurately assess the content of a book? Stanton thinks so. “Our original models are based on focus groups,” he says. “We would give them a highly dense scene and a low density scene, for example, and ask them to assess them, which gave us a basis for training the models. Then we looked at books that might exceed the models and tweaked the formulas. In this way, our algorithms are trained like a human being.”
BookLamp quantifies such elements as density, pacing, description, dialogue and motion, in addition to numerous nuanced micro-categories, such as “pistols/rifles/weapons” or “explicit depictions of intimacy” or “office environments.”
I’m totally a sucker for this sort of shit . . . I think it’s great that people are finally thinking about how readers find books; I think it’s maybe detrimental to only read books that fit your fiction prejudices. (Of course, what example does the founder of Booklamp use in the interview? The fucking Da Vinci Code. Dear god, please make it stop.)
Knowledgeable recommendations used to be the function of booksellers, but since we, as a culture, seem not to need them (or bookstores) at all anymore, there are a number of book sites popping up to fill this void.
I’m sure this is over-simplifying, but there seems to be two major approaches to automated recommendations: the “similar user” approach, which is what Last.fm and GoodReads use and is based on the idea that if you like A, B, & C, and a lot of people who also like A, B, & C, also like Q, then you’ll probably like Q as well; and the “similar component” approach, which is what’s in play with Booklamp and Pandora and uses top down analysis to recommend books/music with components similar to books/music you like.
Personally, I prefer the first approach, and have never really gotten Pandora, nor do I see how my favorite books can be accurately quantified (The Sound and the Fury is 25% suicidal tendencies and 25% narrated by a mentally challenged character? Or The Crying of Lot 49 is 48% paranoia and 88% too cool for school?)
Now that two of the three recommendation sites are at least in their beta phases—Bookish is still in the works—it seems sort of worthwhile to check and see what these sites recommend . . . It’s one thing to talk about the theory and drool over hot catchphrases like “discovery” and “genome,” but another to find out that no matter what you put in, you’re told that you should read Twilight.
I’m not sure I can convince you of this, but I’m doing this test live . . . I haven’t looked up any of these books yet, so I have no idea what I’ll find. (It’s like live blogging! Which I believe is now called “tweeting.” Anyway.)
So, first up, the book I have tattooed on my arm—The Crying of Lot 49.
Booklamp: No results. Well that’s unfortunate . . . Skipped right over the paragraph in the Publishing Perspectives article about how they currently only have 20,000 Random House books in their database . . .
GoodReads: The Recognitions by William Gaddis, The Sot-Weed Factor by John Barth, Dog Soldiers by Robert Stone, Falconer by John Cheever, Call It Sleep by Henry Roth.
OK, not so sure about the last couple, but the GoodReads recommendations are fine. Gaddis rocks, but I love JR more than The Recognitions, and Sot-Weed isn’t even close to my favorite Barth book. Still, not bad. Predictable, but not bad.
Since Booklamp is so limited in scope, I’m using their “Author Browse” function to find a good example . . . And oh, look, they have a listing for The Sound and the Fury! My snotty prediction about what the make up would be was pretty crap . . . Instead of confused narrators and philosophical issues about time, the five most prominent “StoryDNA” elements according to Booklamp are: Financial Matters, Family Connections, Domestic Environments, Automobiles & Vehicles, and Nature/Forests/Trees. The fuck?? Seriously? This does not bode well . . .
Booklamp: Sanctuary by William Faulkner, Moon Women by Pamela Duncan, Leo and the Lesser Lion by Sandra Forrester, Good-bye Marianne by Irene Watts, and Telling Lies to Alice by Laura Wilson
GoodReads: Appointment in Samarra by John O’Hara, Loving by Henry Green, The Death of the Heart by Elizabeth Bowen, Under the Net by Iris Murdoch, and An American Tragedy by Theodore Dreiser
Although they aren’t the first authors that come to mind when I think of William Faulkner (I was expecting Flannery O’Connor), I do love me some Henry Green and Elizabeth Bowen. And to be completely frank, I have no fucking idea what any of the Booklamp recommendations are. Irene Watts? Leo and the Lesser Lion?? Maybe I’m just ignorant and missing out on great fiction . . .
Leo and Lesser Lion. Listed by the publisher as Juvenile Fiction: A heartwarming family story set during the Depression that reads like a classic.Everyone’s been down on their luck since the Depression hit. But as long as Mary Bayliss Pettigrew has her beloved older brother, Leo, to pull pranks with, even the hardest times can be fun. Then one day, there’s a terrible accident, and when Bayliss wakes up afterward, she must face the heartbreaking prospect of life without Leo. And that’s when her parents break the news: they’re going to be fostering two homeless little girls, and Bayliss can’t bear the thought of anyone taking Leo’s place. But opening her heart to these weary travelers might just be the key to rebuilding her grieving family.
Oh, my. Booklamp fail. “Juvenile Fiction”?? I’ll bet $1million that there’s not a single stylistically interesting about this novel. And I’ll also bet that there’s no possible way I’d read this book and be like, “wow, I’ve never read a book more like Sound and the Fury than Sandra Forrester’s little gem!” Fuck. And no.
So far Booklamp is coming in a distant second . . . And exposing all the flaws of this top-down recommendation approach. This system really doesn’t seem to account for writing style, which, in my opinion, is maybe the most important feature of any work of fiction. Sure, it’s got “automobiles” and I do like to read about people who move from one point to another, but if the writing is shitty, there no number of “automobile/vehicle” scenes that will save a novel. And how do you identify the “genome” for exciting writing? (Not to bang a dead drum, but this is why booksellers and librarians and actual readers are so goddamn important.)
Let’s try one more, this time with feeling: Independent People by Halldor Laxness.
Booklamp: the first four are all Laxness books, which seems a bit of a cheat, so I’ll skip those . . . The Writer and the World by V.S. Naipaul, Dead Souls by Nikolai Gogol, Agnes Grey by Anne Bronte, A Country Doctor by Sarah Orne Jewett, and Walt Whitman’s Secret by George Fetherling
GoodReads: Njal’s Saga by Anonymous, Angels of the Universe by Einar Mar Gudmundsson, The Pets by Bragi Olafsson, The Blue Fox by Sjon, and Growth of the Soil by Knut Hamsun.
Interesting to end with this book . . . Booklamp’s recommendations are a lot less country-specific compared to GoodReads. But on the whole, I think I like the GoodReads recommendations better, especially since they include one of our books.
There’s no conclusion to this post except that I find this all very interesting in theory, and flawed in execution. I’m sure both of these sites (and Bookish) will get better and better as time goes on and data accumulates, and will play a larger role in how books find an audience as booksellers continue to decrease in number . . .
As mentioned before, I’m
obsessed interested in the ways in which readers find books—especially in the New Digital Reality of Facebook comments and whatnot. The idea of a “Pandora for Books” (or maybe better, a “Last.fm for Books”) has been batted around for sometime now, and apparently a few of the big corporate publishers are putting some $$$$ into just this idea.
the main goal of Bookish is to make recommendations about books that will appeal to a reader’s particular taste. He compared the site to things like IMDB and Rotten Tomatoes that mix information about movies with reviews and news. Editorial will include breaking news, author interviews, excerpts, reviews and other marketing materials that publishers feel will help readers pick a book, Lemgruber said. Although backed by Penguin, S&S and Hachette, Lemgruber stressed that Bookish will be editorially independent, covering books from all publishers (excluding vanity presses).
Penguin Group USA CEO David Shanks compared Bookish to Pandora and said unlike other sites that are driven by purchases, Bookish will make recommendations based on the information provided by consumers. “The more information readers provide the more customized the recommendations can be,” Shanks said, noting that Bookish is aimed at helping readers identify books they may like from the tens of thousands published annually. He said the three publishers came together after it became clear that their individual sites would never drive enough traffic to reach a critical mass of book buyers. As print media devotes less space to book coverage, the publishers felt they needed a way to raise the profile of their content, Shanks said.
As with the still not doing shit DiscoverReads, the proof is in the pudding, so to speak. And without being able to check out whether it recommends Harry Potter or The Pale King, based on my muted post horn tattoo it’s hard to say whether this algorithm is worth its weight in silicon. So we’ll see.
I’m all about the idea of recommending software/websites/apps/etc, mainly because I feel that the real challenge for book people in our Age of Abundance (everyone’s a writer! everyone’s a publisher! a million books is year is nothing!) is going to be hooking up the right reader with the right book at the right time. Maybe this is a step in the right direction . . .
Also curious to see how book reviewers respond to something like this. In a sense, a site that automates recommendations takes away a bit from their importance. Rather than puzzle out from a 1,000 word review if I should or shouldn’t read a book, I could just ask Bookish how well it “fits my criteria.”
It will also be interesting to find out how dispersed the recommendations are. I know there’s a better, more accurate statistical term for this that I can’t think of, but basically, will this site end up recommending pretty much the same books you see on tables at Barnes & Noble, or will it end up pushing readers down the “long tail” toward niche publications and books that are outside of the mainstream. There’s a fine balance to be struck here, one that Pandora is only so-so at (in my opinion).
All very curious that the tide has shifted in the direction we (people like myself and Richard Nash) have been talking about for some time now . . . Kind of cool to see a prediction start to come true . . .
“The small stone plaza was floating in the midday heat. The Christ of Elqui, kneeling on the ground, his gaze thrown back on high, the part in his hair dark under the Atacaman sun—he felt himself falling into an ecstasy.. . .
This slender, uncanny volume—the second, best-selling collection of stories by Russian author Ludmilla Petrushevskaya to appear in the U.S.—has already received considerable, well-deserved praise from many critics and high profile publications. Its seventeen short tales, averaging ten pages each, are. . .
The Urdu word basti refers to any space, intimate to worldly, and is often translated as “common place” or “a gathering place.” This book by Intizar Husain, who is widely regarded as one of the most important living Pakistani writers,. . .
The Whispering Muse, one of three books by Icelandic writer Sjón just published in North America, is nothing if not inventive. Stories within stories, shifting narration, leaps in time, and characters who transform from men to birds and back again—you’ve. . .
Luis Negrón’s debut collection Mundo Cruel is a journey through Puerto Rico’s gay world. Published in 2010, the book is already in its fifth Spanish edition. Here in the U.S., the collection has been published by Seven Stories Press and. . .
To have watched from one of your patios
the ancient stars
from the bank of shadow to have watched
the scattered lights
my ignorance has learned no names for
nor their places in constellations
to have heard the ring of. . .
When Icelandic author Andri Snær Magnason first published LoveStar, his darkly comic parable of corporate power and media influence run amok, the world was in a very different place. (This was back before both Facebook and Twitter, if you can. . .