From Tell Zell here’s an excerpt of a memo from Lee Abrams, Chief Innovation Officer at the Tribune Co.:
*Books: Heard a conversation about how Book reporting doesn’t generate revenue and may have to go away. WAIT! Maybe Book reviews and coverage are one of those things that don’t generate revenue right now, BUT—are trademarks for newspapers and elicit high passion from readers. At XM, we had Opera channels. Low listenership…HIGH passion…AND—it was one of those things that even if people didn’t listen or even like Opera, it was one of those things you had to have for completeness. Maybe Book sections in newspapers are just dated. Not the idea…but the look and feel. Maybe they’re modeled after a book store in 1967 whereas we’re in the Borders, Amazon, B&N era. Maybe they are too scholarly. Maybe they avoid genres like Christian books, Celebrity books and Popular novels, opting instead for reviews of the Philippine Socialist Movement in the 1800’s. The point here is maybe Book sections need to be as dramatically re-thought as Borders re-thought retail. Not dumbing down—but getting in sync with the 21st Century mainstream book reader.
Well, um, where to start? First off, I can’t imagine the Chicago Tribune reviewing many titles about the “Philippine Socialist Movement in the 1800’s.” [Sic—good thing they hire copy editors to check punctuation.] Really, if they were wasting space on titles like this, where would the put all the coverage of the baseball books?
Secondly, it seems pretty stupid to praise XM’s Opera station as “one of those things you had to have for completeness,” and then turn around five sentences later and imply that book review sections shouldn’t be so highbrow and should have reviews of “Christian books, Celebrity books and Popular novels.” [Again, sic re: this insane capitalization. I know it’s an e-memo, but please, you work for a fricking newspaper.]
I’m all in favor of newspapers retaining their books coverage (seriously, here in Rochester, there’s next to nothing, and I know things are even worse in places like Normal, IL), but with people like this in charge of newspapers, it’s even more pressing that outlets like NPR and PRI’s The World pick up the slack.
Oh, and because I can’t help myself—it’s management like this that’s the reason why the Cubs haven’t won the World Series in a century. That and Kerry Wood.
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. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .