Mirasol Glass Art

In the midst of a revolution, when changes roll over the present with rapidity and disregard, it’s hard to see far into the future. In fact, at best you might be able to catalog various abstract possibilities to come, much like guessing the end of a novel when you’re still on page 20.

Then again, sometimes you see something, and you know you’ve glimpsed the inevitable. That happened to me yesterday.

E-readers are about to change so dramatically that the present Kindle is going to seem like an Etch A Sketch. What makes an e-reader so different from a computer screen is its screen surface.

With no backlighting and an appearance almost like paper, the e-reader screen is easy on the eyes. It’s like reading a paper book. Almost. But at today’s technology, it’s also slow, clumsy, and one dimensional. Like a book, you might say, but being accustomed to the mesmerizing tricks of computers and the Internet and judging by the widespread fetish of the iPhone, people are going to want more.

They’re going to get a lot more, probably by the fall of 2010.

Take a look at this short video below of the new Mirasol screen, made by Qualcomm, which, like the E-Ink technology of the Kindle, is not backlit, meaning the screen is illuminated by ambient light in a room or, if you’re outside, by the sun. Like the Kindle, it is easy on the eyes, it uses very little energy, and can produce a paperlike image for ebooks. But it’s also extremely fast and can stream video in rich color like your computer or an iPhone. It’s stunning.

The screen is likely to be used not only on e-readers but also on cell phones, which should dramatically increase their battery life.

Although another company might beat Qualcomm with a different technology, Mirasol or something similar is soon going to provide all the benefits of the present e-reader while transforming it into a multifunctional device for the Internet, music, videos, and all the things of the future we haven’t yet imagined.

And what is the most evocative aspect of this sensory allure, the hallmark of a book’s longevity and import? It’s the smell, of course—that musty, dusty, indescribable funk that wafts out of the open tome to remind you: these ideas were forged in another time; you, dear reader, are but a single traveler over the vast continent of human intellectual history.

But “Old Book Smell” is not just for nostalgia and mysticism anymore, as a team of scientists in the United Kingdom, the Netherlands, and Slovenia has begun to analyze its chemical properties for the purpose of historic preservation. According to an article that appeared in the journal Analytical Chemistry, the scientists have isolated the most prevalent volatile organic compounds (VOCs) that are released by book paper as it biodegrades. (They’re not wafting, as it turns out; they’re “off-gassing.”)

Indescribable no more, the peculiar funk produced by these VOCs has been characterized as “a combination of grassy notes with a tang of acids and a hint of vanilla over an underlying mustiness.” Even having named it, however, the scientists maintain that there’s something special about this smell, calling it “unmistakable” and “as much part of the book as its contents.”

For the sake of paper books young and old, let’s hope Amazon doesn’t get a hold of the formula. The last thing we need is an off-gassing Kindle.

If you’re worried about the fate of the literary magazine in this hectic new era of apps and tweets, you might find solace in Electric Literature, a bold new bimonthly with a plan to capture and convert a broad and highly mobile readership to literary fiction. Founded by Andy Hunter, 38, and Scott Lindenbaum, 26, who met in the Brooklyn College MFA program, the magazine is available on every possible platform, including paper (printed on demand), Kindle, iPhone, and audiobook. Although many literary publications have begun to offer electronic delivery in some form or another, Electric Literature may be the first to blanket the whole field.

By limiting their paper printing costs to exactly the number of copies ordered, the magazine eliminates a sizeable upfront expense as well as the losses associated with unsold copies. Such economy makes it possible for Electric Literature to act boldly in another way—by paying writers an impressive $1,000 per story. As the editors say in their mission statement, the pioneering model is designed to set a simple but compelling precedent: more access for readers, and fairness for writers.

The magazine seems to be off to a good start, thanks to some innovative marketing ideas and their success in landing such big-name writers as Michael Cunningham, Colson Whitehead, Lydia Davis, and Jim Shepard in their first two issues. With some 4,000 readers and growing, according to the New York Times, it’s generating a much-needed spark of optimism across the literary landscape.

What is the biggest challenge for publishers and bookstores today? The simple answer, of course, is that people are buying fewer books, and when they do buy books, it’s increasingly online. But it’s not as if people are reading less. They might, in fact, be reading more, except now they have a new option: free content in the ever expanding virtual world of the Internet.

I sometimes think of this as an American phenomenon. In the United States attention spans are getting shorter and shorter, and people seem more interested in reading blogs or watching strangers lip sync on YouTube than doing something as sedate and tedious as reading a novel. But I was discouraged to learn recently that in France, too, book buying is on the decline.

This week in Nice I found a small book, Lettres à mon libraire (Letters to My Bookseller), that helped reassure me that the world has not completely abandoned the idea of books and the stores that nurture and sell them. For the book forty-five French writers wrote brief letters, verging on love letters at times, to bookstores and booksellers. In the preface François Busnel (a well-known editor and host of a literary television program in France) begins by arguing something seemingly antiquated but at the same time intuitively true for those who grew up in the nondigital world. “Soyons honnêtes: il n’y a pas de livre sans librairie, pas d’écrivain sans libraire” (“Let’s be honest: there is no book without a bookstore, no writer without a bookseller”). He then goes on to pin the problem of bookselling today on capitalism’s commodification of art.

Literature [is] the most useless of activities. That is what we hear every day . . . in this overloaded century, which made speed its supreme value and superficiality its guardian angel, which in metaphysical discourse asked the question “What is this for?” and insisted on profitability as the answer to everything, it is a good sign, I’ve said, that something resists the terrible temptation to declare itself “useful.” Beauty is useless, as poets and philosophers all affirm.

It is in this spirit that bookstores have more than commercial value that novelist Michèle Lesbre, one of the forty-five authors, writes,

Dear bookseller of my youth. I learned that you died several months ago. I couldn’t believe the bad news. Your tiny bookstore, at the top of rue des Gras and under the shadow of the cathedral, in Clermont-Ferrand, was so long the only real sanctuary for those that thought literature could save the world, one day.

True, these passages are nostalgic and in themselves of little effect, as is much of the commentary these days lamenting the decline of reading and wearily pushing against the upcoming digital revolution in book publishing. But if it’s any consolation, books and bookstores are still valued by a lot of people, and in the worst case, when everyone has a Kindle or an Apple Tablet for reading, you’ll probably still be able to find paper books. They’ll be right next to the vinyl record section.

Still, there is so much talk today of the upcoming Apple Tablet, which, according to rumors, is an oversized Ipod Touch that could be used for many things, including ebooks. Compared with the Kindle, it will be beautiful, seducing buyers with its bright, colorful, illuminated screen.

Image by Fire_Eyes via Flickr

Unfortunately I’ve talked to my eyes about it, and they have given me a firm response: no, not in this lifetime, not if I don’t want to go blind.

I thought this was the end of the subject, but then I saw this video on Gizmodo of Microsoft’s rumored Courier, a two-paneled tablet that looks like a true electronic book of the future. It looks a little like the upcoming two-paneled Ausus backlit reader but is much more sophisticated.

No one knows for sure if Microsoft is coming out with this product and whether it will read ebooks, but if it did, I would have a hard time resisting the urge to buy one.

If I could get something like this in the nonilluminating E-ink of the Kindle and Sony Reader, I would be totally sold on ebooks.

 Cushing Academy, a prep school in Ashburnham, Massachusetts, has decided that its traditional library is way too yesterday. As reported by the Boston Globe, Headmaster James Tracy believes paper books have become antiquated, in the way that scrolls once became obsolete with the advent of the printing press. What’s more, books take up too much space. So the 144-year-old institution is getting rid of its collection of more than 20,000 books, becoming one of the first schools in the nation to convert almost completely to digital media resources. “We see this as a natural way to shape emerging trends and optimize technology,” Tracy said.

The Cushing library will be replaced by a $500,000 “learning center” that includes three large flat-screen TVs for projecting Internet-based information ($42,000); laptop-compatible study carrels ($20,000); and 18 electronic readers from Amazon and Sony ($10,000). Learning will also be facilitated by a $50,000 coffee shop (to be built in the spot where that old dinosaur, the reference desk, used to be) featuring a $12,000 espresso machine.

Outcry is not just from bibliophiles. Even many Kindle enthusiasts and other techy types are chagrined by the sweeping nature of the Cushing decision, wondering why the school could not have struck a balance between books and new media.

Notable among those who see the book purge as “a tremendous loss for students” is William Powers, media critic for the National Journal and author of “Hamlet’s Blackberry: Why Paper is Eternal” (a 75-page position paper written in 2006, when Powers was a fellow at Harvard’s Shorenstein Center on the Press, Politics and Public Policy).  In it he argues that paper is not just a vessel for content, or an old human habit, but rather a sophisticated technology that fosters a cognitive reading experience not available through electronic media. According to Powers,

There are modes of learning and thinking that at the moment are only available from actual books. There is a kind of deep-dive, meditative reading that’s almost impossible to do on a screen. Without books, students are more likely to do the grazing or quick reading that screens enable, rather than be by themselves with the author’s ideas.

I’m inclined to agree, but then I think you can hear music better on vinyl, too—while you sit on the couch admiring the artwork on the gatefold cover.

I have long been a fan of David Byrne. Not only do I consider him to be a genius artist and musician but he also seems to be a thoughtful and keen observer. I was thus quite curious when I discovered he tried out the Amazon Kindle DX and blogged about his experiences.

It appears my assessment of Byrne as “thoughtful” may have been correct, as he goes into a lot of detail about features on the Kindle DX he liked and didn’t like so much. There are no extremes, either; he didn’t think the Kindle DX was the most incredible invention ever, and he didn’t think it was a piece of garbage. Byrne also seems to know quite a bit about other ereaders on the market, and he comments with authority about the available formats.

All in all, Byrne enjoyed using the Kindle DX. Things he didn’t particularly care for, such as the absence of a backlight or its inability to display newspaper or magazine photos well, were not deal breakers. In fact, he offered positive spins on these points: the sacrifice of a backlight means you get an impressive battery life, and if you load your Kindle DX primarily with text, who cares if the graphics don’t look red hot?

Byrne also imagines how the future of publishing will change as ereaders become more commonplace. For the Kindle DX, which offers a larger screen than the regular Kindle and is designed to accommodate textbooks, Byrne muses, “If those textbooks can be sold as weightless $10 downloads the students and their parents will cheer, and the chiropractors will cry.” Again, though, Byrne is positive. Though he believes publishers will grumble at the lower prices ebook readers will demand, he says publishers will benefit from the reduction in distribution costs.

Here are a few facts to keep in mind.

According to Bowker, in 2008 ebooks represented only 0.6 percent of all books sold in the United States. The majority of buyers were men, and more than half were between the ages of 18 and 34. This year ebook sales will still be less than 2 percent of the U.S. book market.

Here’s something else to ponder.

Most people prefer paper. According to a recent survey, only 37 percent of Americans are interested in buying an ereader. Here in France I’m often at the beach and see one person after another stetched out in the sun reading a paperback. Not an ereader in sight.

Yes, ebooks are likely a big part of publishing’s future, but for now dead-tree books, as some people disparagingly call them, are how almost everyone reads novels, biographies, cookbooks, self-help books, and titles in every other publishing category, and that’s not going to change overnight. For many people the battle between Amazon and Sony (and other smaller manufacturers) is taking place on some sparsely populated island of technogeeks.

Not to be insulting. I’m about to buy an ereader myself, and I’ve already picked out the first book I want to read on it (L’élégance du hérisson by Muriel Barbery, published by Les Editions Gallimard; in the United States The Elegance of a Hedgehog published by Europe Editions). But when I think of ebooks, I’m often reminded of this video, the funniest in my opinion of the mock battles produced by Green Apple Books.

Books not only furnish a room, to paraphrase the title of an Anthony Powell novel, but also accessorize our outfits. They help brand our identities. At the rate technology is progressing, however, we may eventually be traipsing around culturally nude in an urban rain forest, androids seamlessly integrated with our devices.

He also imagines degraded moments of nostalgia.

Reading will forfeit the tactile dimension where memories insinuate themselves, reminding us of where and when D. H. Lawrence entered our lives that meaningful summer. “Darling, remember when we downloaded Sons and Lovers in Napa Valley?” doesn’t have quite the same ring to it.

Wolcott seems concerned that, by using an e-reader, we won’t be able to show strangers on a train or in a coffee shop that we’re reading Nietzsche and not Danielle Steel. Or vice versa.

But not everyone wants to use books for creating an identity. Or at least not the books they’re actually reading. Some people prefer the anonymity of the Kindle. And for those wanting to hide certain embarrassing titles from people snooping on their Kindle, here’s a tip from CNET.

So far there have been three rounds. In the first the book and the Kindle test their mettle in the used-book-selling category. The second round explores the experience of purchasing a book. In the third the book and the Kindle go head-to-head in terms of borrowing or sharing a book. Spoiler alert: so far the book is in the lead 3-0. Care to place any bets on the final outcome?

So pop some popcorn and take a look at these clever and humorous webisodes. I can’t wait to see the final score!

The Book vs. the Kindle: Round 2

The Book vs. the Kindle: Round 3

But are there other options? Well, yes. Here are a few that will be coming out soon.

Bebook 2

With both a touch screen like the Sony and a wireless connection like the Kindle, the Bebook 2 is one of the most advanced of the upcoming new readers. It’s produced by Endless Ideas in The Netherlands.

Cybook Opus

The Cybook Opus, made by the French company Bookeen, is one of the most stylish e-readers on the horizon. It also has an accelerometer.

Plastic Logic

If you want a lightweight reader with an 8 1/2 x 11 screen, this is it. Plastic Logic, a company founded in Cambridge, England, recently teamed up with Barnes & Noble, so there will be hundreds of thousands of books to download. Plastic Logic also makes flexible screens. One day you might be able to buy a reader that rolls up.

Editis Ebook

Okay, this one is a fantasy by Editis, a French publisher. But watch this short French film until at least 1:04, when the woman pulls out her magic orange reader. Thanks to the HarperStudio blog, where I first saw the film.

We are gearing up to launch ourselves into our publishing venture, and to prepare, we’ve been doing a lot of research. There are many, many opinions about the current state of the publishing industry and the direction in which it is headed. Some will tell you publishing is on the brink of death; others feel there has not been a better time to enter the industry. What is clear is the industry is in flux and affected by changes in the economy and technology.

A somewhat controversial topic, or at least one that generates a lot of opinions, is that of digital books or e-books. Personally I think that as long as there are books to read, it doesn’t matter whether they are on a printed page or in digital format. I like to switch back and forth between digital and printed books, but there are diehards out there who would prefer to avoid e-books.

I don’t know which format author J. A. Konrath prefers for reading, but in a recent blog post he made a strong case for e-books, explaining why and how publishers should produce them. A few points I found particularly interesting and thought provoking:

• Books cost too much: Konrath details how publishers determine the price of a print book and how that model can and should be changed. He argues that publishing companies are basing e-book pricing on traditional print pricing, which is calculated by profit per unit and doesn’t apply to e-books.
• Piracy should be battled not with higher security and restraints but with cheaper prices and greater accessibility: Konrath believes it is a waste of time and money for a publisher to try fight piracy. If books are cheap and easy to access and purchase (in other words, get rid of proprietary formats), Konrath argues, buyers wouldn’t pirate or steal books.
• In the future, authors may no longer need publishers: Self-publishing in a digital world is easier than ever, so authors may opt to do their own legwork and keep all the profits for themselves. Konrath is testing this premise by selling his unpublished works in digital form online, and so far he is getting positive results.

Konrath is the first to admit he could be wrong on many points, but he presents a persuasive and interesting conversation. Konrath may not be able to predict the future, but it’s hard to argue with his opinion that the publishing industry is in for some big changes.

Fortunately, until Kindle apps appear for other smartphones, there are good alternatives. Among the best are Mobipocket, a French company bought by Amazon in 2005, and eReader, owned by Barnes & Noble. Both have apps available for most smartphones, including my own, the Samsung Omnia, run on Windows Mobile.

I’ve been surprised by how pleasant and useful it is to read on a cell phone, despite the three-inch screen. Reading on my phone has been a slippery slope. It started with text messages, then e-mail, then the newspaper. When I signed up with Mobipocket, I decided I would start with a book of poems—short things to read when I was stuck somewhere and had nothing to do. With Mobipocket I was able to connect to the site and buy a book directly from my phone.

I love paper books, so in evaluating Mobipocket and eReader, the real test was whether I would use them. I didn’t have to wait long to find out. One evening at the grocery store, I found myself in the longest line of my life. I was stuck near the cosmetics and couldn’t even see the cashiers. As people grumbled around me, I decided this was the moment. I pulled out my phone. I opened up Les Fleurs du Mal. By the time I got a glimpse of the cash register, I had already read three curious, ecstatic poems by Baudelaire.

A book worth reading, published by Grove Press. Click for more information.

I thought of this event recently when I was reading a New York Times article on BookExpo America. There was Sherman Alexie, now a famous writer, quoted about ebooks. On his plane going to the convention, he saw a woman reading a Kindle. According to article, Alexie, who thinks Kindles are elitist, “wanted to hit” the woman.

I doubt Alexie really wants to hit anyone, but like many literary people, he hates and fears digital books. For authors the fear is understandable. Ebooks are potentially threatening. But this antidigital urge seems to be part of a broader trend, another act in the man versus machine drama. An earlier scene occurred in 1987, when Wendell Berry wrote a piece in Harper’s describing his disdain for computers. Although compelling, the essay was widely criticized, especially for being sexist. Instead of using a computer, Berry said in the essay, he asked his wife to type his work.

Alexie, too, received mixed reviews from his comments. To his credit, Alexie on his website wrote about the many people who sent him e-mails supporting ebooks. Some, because of physical ailments, couldn’t read without the Kindle or similar machines. Alexie, who said he has not allowed his books to be available digitally, announced he would be meeting with “folks at Amazon and Kindle” and promised not to “beat up anybody” there.

Here, in another context, is Alexie in a provocative duel.

The conversation about the future of publishing seems to be reaching a fever pitch these days, and the talk is overwhelmingly about technology, platforms, and applications. Amid the cacophony the question of how to find, nurture, and present exceptional, compelling content is usually secondary at best. As such, it’s great to see such a brave crusader as Hannah Tinti winning the PEN/Nora Magid Award for editorial excellence.

Tinti is editor-in-chief at One Story, a literary magazine that is championing the short-story form by printing them one at a time—in all their slender and arresting self-containment. Never mind the Kindle, you hopelessly tactile readers, as One Story promises:

Each issue is artfully designed, lightweight, easy to carry, and ready to entertain on buses, in bed, in subways, in cars, in the park, in the bath, in the waiting rooms of doctors, on the couch in the afternoon or on line at the supermarket.

The concept is simple enough, but One Story must be doing something right, as they’ve built their subscribership from 100 to 6,000 since their founding in 2002. What’s more, of the 119 stories One Story has issued, more than 40 have been recognized as among the best of their year.

And what exactly does Tinti have to do with bringing forth such outstanding fiction? See magazine co-founder Maribeth Batcha’s recent post and the flood of comments that followed for a glimpse of the remarkable passion, discernment, and generosity Tinti devotes to the authors she works with.

Indie publishing veteran Richard Nash (formerly of Soft Skull Press), who judged the PEN/Magid Award, apparently summed it up when he called Tinti “the Princess Leia of American short fiction . . . saving the short story from the Death Star of indifference.”

Here’s another confession: I did very little research on the Kindle before ordering it. I had just heard it was great, that many felt they read more since buying one, that sort of thing. Now, another main reason I bought a Kindle was because I assumed it had a backlight that would allow me to read in bed or in dark rooms. Imagine my surprise when the Kindle arrived, and it had no light! Later I learned this was intentional: the Kindle is supposed to mimic actual paper as closely as possible, plus a backlit screen can cause eye strain. Still, it would be nice to have the option.

My initial impression of the Kindle was, I must admit, a bit more negative than positive. There were some little things I didn’t particularly love about it: the lack of a backlight, the small size of the screen (you can adjust the size of the text, which does help, but it seemed I was turning pages every few seconds), and the inability to adjust the contrast or grayness of the screen (the screen is a wee bit dark for my eyes). It’s a bit of a challenge to buy something sight unseen!

Despite my first reaction, I have grown to appreciate and enjoy my Kindle. I have now read about five books on the device and am fully comfortable with it. I won’t give up actual physical books, but it’s very handy to have the Kindle. The price of $359 is still quite steep, though, and makes it inaccessible to most people. Plus you should really get a case, which will run you an additional $30, but I suppose that is better than dropping the thin sliver of a Kindle and breaking it. If prices come down to around $200, I think we’ll see a lot more Kindle owners.

What do you think about the phenomenon of the Amazon Kindle or of e-book readers in general? Do you have a Kindle? How do you like it?

Amazon has made it pretty simple to publish books for sale on a Kindle. You basically just have to have an Amazon account (and who doesn’t these days) and a book to which you own the electronic publishing rights. The book can be in a number of formats, including HTML (the Amazon-recommended format), PDF, plain text, and Microsoft Word (but not .docx). You upload the file, Amazon then automatically converts the file to Amazon DTP (digital text platform), you set the Suggested Retail Price (Amazon pays you 35 percent of the Suggested Retail Price), and voila! Kindle book for sale!