From the Seattle Post-Intelligencer
Paperspine is trying to do for books what Netflix did for DVDs. In fact, Dustin Hubbard — the Microsoft Corp. program manager who co-founded the Issaquah startup on a leave of absence this summer — said he was inspired by the online movie rental company when he came up with the idea.
It happened one night while putting a book into a crowded nightstand. Hubbard, who has spent 10 years at Microsoft, started wondering why he simply couldn’t return the book for another, a la Netflix.
Maybe they do things differently on the West Coast, but last time I checked, there was a place called a library where you could check out a book, return it when you were finished, and get another—all for free!
Sure there’s the potential for late fees at libraries, and sometimes you have to wait to get the hot new book, but with depressing stories about American reading habits coming out every other week (thanks NEA!), I have a hard time imagining anyone paying $120-$300 a year to get the 4-6 books they’ll probably read that year shipped directly to their home.
But what do I know? If it works, if it takes paying for something like this to get people to read, then great. I’m just not going to hold my breath. (Besides, why don’t you just set up a rental service for the Kindle? That would be cheaper, more efficient, and more likely to create a cache of cool.)
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .