I’ve been predicting this for a while, and still think a Spotify for ebooks would be a $1million idea. (Or a $1million bankruptcy. Whatever.) Anyway, from today’s Publishing Perspectives:
Everything you can read in a month for just €9.99 sounds like a good deal, doesn’t it? That is what Booquo, the new digital venture of Circulo de Lectores — the book club owned by publishing giants Planeta and Bertelsmann — is offering, making them among the few brave enough to tread the forbidden path of access vs. ownership that frightens so many print publishers in this digital age. [. . .]
Booquo has two business models — conventional and subscription. The first allows you to rent movies (from a selection of 1,000) and buy e-books (some 10,000 titles are on offer) that is open to anybody who visits the site. This shop, which functions like any other e-retailer, has a partnership with Filmin for the movie rentals and uses the e-distributor Libranda (of which Planeta and Bertelsmann are main shareholders) for downloadable e-books, which are sold at the same fixed price that anybody will find at Amazon Spain or Casa del Libro. The second is the “club,” which offers a one month trial subscription of € 0,99 in an opt-out system that will charge your credit card €9,99 per month thereafter till the account is cancelled.
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?),. . .