As is only appropriate for someone writing about technology, publishing, and audience development, I’ve been posting all of these French Study Trip posts on my Facebook account as well. Personally, I don’t imagine anyone ever reads these (did you see that one yesterday? It was like the War & Peace of abstracted publishing babble!), but actually, yesterday evening two friends posted a few interesting questions that I thought I’d share here (this is digital cross-pollination) to help foster a conversation.
First off, Robert Richardson (I worked with Robert at Schuler Books in Grand Rapids, MI some years back) asked about who would have access to eBooks: “Did you talk much about how eBooks and eBook publishing may reinforce and expand a global class system via the digital divide?”
A: We actually didn’t talk about this, but it’s a really good point. I still believe print books and eBooks will co-exist, but if they co-exist like CDs and digital music . . . well, that could be a problem. Although it’s likely that e-reading devices will drop in cost, cell phones will be used for this as well, and eBook prices will be lower than printed books. (More on that issue on Thursday.) So maybe . . .
Douglas Carlsen from Whitman College Bookstore brought up a ton of good points: “Some random thoughts – If Indie and Corporate publishers value books for different reasons – your aesthetic/profit dichotomy – then must it necessarily follow that one cannot amplify the other? If brand means no sales – this must mean no readers. If no one is reading a particular work, was it worth printing? What is worth worth? Will the . . . Read More accessibility of ebooks reduce the cost of such works making them more likely to be read and make them more “worth” publishing? What value (aesthetic/profit) is any work that is not read? From the profit point of view none, from the aesthetic some – but, in the end from either point of view, troubling. It comes down to a question – “can we justify our value?”. If accessibility by way of ebooks enhances readership at an aesthetic level then what? Yet will anyone read – let us say for argument – Gravity’s Rainbow as an ebook? or Ulysses? or The Ephemera of a Maid’s Dreaming? What is lost what is gained. Does Reader have more import in the process than publisher, or distributor, or bookseller? Or is all a matter of point of view? But it was noted that there was little of note on the author. Without the author’s endeavors there are no works to read. Can an ebook go directly from author to reader? Yes, of course, but what of the aesthetic/profit issue for author? Are those efforts worth it without value? Ah, to be read. If to write to be read were all, what then? The end.”
I have no answers for this . . . yet. Although to be honest, the author comes back into my rambling posts on Friday . . .
Anyway, chime in below. This should be a discussion—after days of debating and questioning and speculating in Paris, I’m not sure we really figured out jack, except to say that things were changing and that this is scary and filled with opportunities. But I’d rather hear what you think.
While looking back at an episode in his life, twenty-year-old Taguchi Hiro remembers what his friend Kumamoto Akira said about poetry.
Its perfection arises precisely from its imperfection . . . . I have an image in my head. I see. . .
The central concern of Sorj Chalandon’s novel Return to Killybegs appears to be explaining how a person of staunch political activism can be lead to betray his cause, his country, his people. Truth be told, the real theme of the. . .
Spoiler alert: acclaimed writer Stefan Zweig and his wife Lotte kill themselves at the end of Lauren Seksik’s 2010 novel, The Last Days.
It’s hard to avoid spoiling this mystery. Zweig’s suicide actually happened, in Brazil in 1942, and since then. . .
To call Kjell Askildsen’s style sparse or terse would be to understate just how far he pushes his prose. Almost nothing is explained, elaborated on. In simple sentences, events occur, words are exchanged, narrators have brief thoughts. As often as. . .
After a mysterious woman confesses to an author simply known as “R” that she has loved him since she was a teenager, she offers the following explanation: “There is nothing on earth like the love of a child that passes. . .
Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .