Today’s Publishing Perspectives piece is a great editorial by editor Ed Nawotka on e-books, specifically in relation to kids books:
My daughter loves to read. “Book, ook, ook,” she’ll say, trying to form the right word that will get my attention to plop onto a beanbag chair, pull her into my lap, and read to her from her growing library of small, square board books. There are some A-Z books, some “colors” and “shapes” books, some Dr. Seuss and Richard Scarry. But most often, what she wants is something by Sandra Boynton — Barnyard Dance, Horns to Toes — books that are age-appropriate. These are books full of sing-songy prose and hippos, elephants, and dogs doing things like bathing, brushing their teeth, and pulling on pajamas — all the things she’s now learning to do herself. My daughter loves these books so much that she literally tries to climb inside them. Now that’s commitment.
But what I fear, as things go digital, is that a lot of the visceral love of reading will be lost. Not the romance of paper — although, there is that — but that physical connection one gets with books from an early age. That climbing into the book my daughter is doing, the way she can’t turn the page fast enough when she’s excited, the way she flips it aside when she’s done.
Of course, there will always be children’s board books. But the question is, as more and more parents spend more and more time with e-book readers and less with physical books, what kind of example does that serve? Don’t we spend enough time in front of screens as it is?
I know my daughter responds to books because, in part, as an infant she had to crawl through what must have looked like looming towers of review copies, threatening at a moment’s notice to topple over on her. She was both curious about and wary of these piles. Would the same have happened if all my galleys came via e-mail to my Kindle?
And over toward the other end of the spectrum, Steven Levingston laments Polymer Vision’s financial troubles, and the fact that this might kill the Readius e-reader they were developing. Collective shrug—if it ain’t Apple’s tablet, it ain’t worth a damn. Still, this did sound (and look) sort of cool:
In prototype, it is a pocket-sized gadget about the size of a pack of cigarettes. What sets it apart is the flexible, flip-out screen. Open the thing up, and you unfold a 5-inch display. Finish reading and fold it up again, clip it closed and stuff it back in your pocket. The company claimed it had tested the screen’s flexibility more than 25,000 times and discovered no degradation in readability.
Like the Kindle, the Readius would have a high-speed wireless connection for downloading books on the run. The screen uses high-resolution, low power E-Ink.
The device also was designed as a mobile phone.
If you’re interested, there’s a video at the bottom of the article demonstrating the flexibility—and cigarette-pack qualities—of the Readius.
And if you’re a venture capitalist looking to bail out Polymer Vision (is this an oxymoron?), I suggest you give all your money to Open Letter through the link below.
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
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. . .