Tag Archive for book form

Anthropodermic Bibliopegy

On Wednesday the LA Times book blog “Jacket Copy” made a gruesome discovery — a little-known (and hopefully long defunct) practice called anthropodermic bibliopegy, or the binding of books in human flesh.  Yes, really.

The story actually broke on The International Journal of the Book blog.  There, Dr. Margaret Zeegers reported that she “had never heard of such a thing” until reading a piece aptly entitled “Of Human Bondage” by Maryrose Cuskelly, which was published in last month’s Australian Literary Review.

Actually this is old news.  Back in 1994 Professor Carolyn Marvin of Penn’s Annenberg School for Communication published a piece in The Quarterly Journal of Speech called, “The Body of the Text: Literacy’s Corporeal Constant.”  Its focus is, among other things, anthropodermic bibliopegy.  I reference the essay in passing in the Introduction to The Late Age of Print, where I mention “book history’s more sinister side.”

The response I’ve been hearing to the “Jacket Copy” and IJB posts has pretty much amounted to,”eww, isn’t that disgusting!?” That’s understandable, but it also completely avoids the question that anthropodermic bibliopegy now poses to us: how could it be that such a sickening practice was, for some people, not only acceptable but even desirable?

This is exactly what makes Professor Marvin’s research so compelling.  Instead of avoiding the question she actually goes there, attempting to understand — but by no means explain away — why one human being would want to bind words and ideas in the flesh of another.

I cannot do justice to her essay here, but I’ll do my best to provide a quick summary.  Marvin begins in the late-18th/early-19th centuries, when medical science — particularly surgery — was still in its infancy.  At the time “surgeon” was hardly a respected profession.  In fact most surgeons were also barbers, and in general the profession harbored strong connotations of manual labor.  Surgery, that is to say, was hardly the white collar profession that it’s considered to be today.

So how as a budding surgeon in the 18th/19th centuries do you differentiate yourself from the rabble of manual laborers?  How do you show that yours is a truly “cerebral” profession rather than “mere” handicraft?  You take the flesh from the bodies of the indigent persons upon which you’ve been trying out your new surgical techniques and, rather than disposing of it, you use it to contain your budding corpus (pun intended) of medical knowledge.  In other words, anthropodermic bibliopegy was a way for surgeons and other medical pracitioners to assert their professional and economic authority over others.

As I said, there’s much more to Professor Marvin’s essay, both conceptually and historically.  It’s certainly worth the read — assuming you have the stomach for it.

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Smellavision

It’s finally happened, at long last: scent has been brought to the world of audiovisual media.  But it’s not television or movies leading the way.  It’s books — or rather, e-books.

Smell of Books

Here’s the lowdown.  DuroSport Electronics, which, as far as I can tell, is a legitimate if little-known manufacturer of e-gadgets, has decided to branch out into somatic technologies — in this case, aerosol sprays that provide printed book-like atmosphere for your e-books.  The company’s new product, Smell of Books, comes in five different aromas to please the sniffer of even the most discerning of bibliophiles: Classic Musty, Eau You Have Cats, New Book Smell, Scent of Sensibility, and (I’m still trying to get my head around this one) Crunchy Bacon.  Maybe the latter is for people who keep cookbooks in their kitchens while playing lose and fast with the pork fat.

Anyway, Medialoper is quite down on Smell of Books, noting, for example, that New Book Smell is really just new car smell repackaged and repurposed.  DuroSport evidently has issued a recall — assuming Smell of Books is an honest to goodness product.

Indeed I keep asking myself, is this for real?  Smell of Books has just enough plausibility to be believable, given how bibliophiles (and by that I mean of the print-on-paper variety) wax on and on about the scents they associate with book reading.  Yet, it’s also sufficiently doubt-inducing to raise my suspicions.  I mean, “Eau You Have Cats?”  Honestly?  And why charge $29.99 a can for New Book Smell, but only $9.99 for Classic Musty?  Something doesn’t quite add up.

Is canned aroma for e-books just an elaborate hoax?  If not, is there actually a market for this stuff?  Either way, I’m not buying it.

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Remains of the Day

If you’ve read The Late Age of Print, then you’ll know that I’m not a technological reactionary.  In my arsenal of gadgets you’ll find a much-loved iPod Touch, a less-loved Kindle 1.0, a mobile phone that I regularly use, and more.  A friend of mine claims that I’m a gadget-head.  Usually I beg to differ, but having just inventoried my electronic wares, I’m beginning to think that he may be on to something.

Here’s the thing, though: I also love  books — and my that I mean, printed books.  While I’d hardly consider myself to be a book fetishist (i.e., I’m not a devotee of Nicholas A. Basbanes), I’m a bibliophile in about the same way that I’m a gadget-head, that is, by default.  Over the years I’ve accumulated a sizable library, mostly in my capacity as an academic; I love to read; and I annotate my books prodigiously, creating personalized indexes so that I can return easily to the passages I’ve underlined.  Maybe one day I’ll scan and post one of these indexes here, so that you can see just how intensely I read.

New Yorker June 8 & 15, 2009

Because I seem to be pulled in two different directions technologically speaking, I was immediately drawn to this week’s (June 8 & 15) cover of the New Yorker, pictured above.  Its setting is a post-apocalyptic New York City.  An alien has touched down and sits amid the ruins, surrounded by what appears to be e-waste.  Discarded CDs, mobile phones, and computer keyboards abound.  Also strewn amid the litter are devices that look suspiciously like Amazon Kindles.  Our genial-looking alien relaxes with a tattered but still mostly intact printed book.

The New Yorker cover is a brilliant commentary on the particular bibliographic moment in which we are currently living.  It seems as though electronic reading was the conversation at last week’s BookExpo America.  The prevalence of that conversation tells us just how short-sighted — and indeed profit-obsessed — the book industry is becoming.  The central problem with e-reading, beyond the temptation to overly-secure digital content, is that of endurance.  Too many e-reading devices and too many digital formats result in too much of one thing: technological obsolescence.

If you don’t believe me, check out Chapter 1 of The Late Age of Print, where I discuss an early e-book experiment called Agrippa (A Book of the Dead).  You can find the text of the Agrippa story online, but unless you’re a collector of legacy technologies you pretty much cannot read it in its original form.  It was encoded on a 3 1/2-inch floppy diskette (remember those?) that is incompatible with today’s hardware and operating systems.

The partisans of e-reading may well retort that printed books, like their electronic kin, also deteriorate.  Paper can become brittle and, well, there’s a reason why the word “bookworm” exists in the English language.  All true.  But here I’m persuaded both by my own experience and by Nicholson Baker’s wonderful book, Double Fold: Libraries and the Assault on Paper (Random House, 2001).  Baker shows us how even just a modicum of care can help print-on-paper books to endure for centuries.  The “slow fires” that the proponents of micro-media first advanced and that the denizens of e-books now expound are pretty much smoke and mirrors.

For e-reading to succeed, there will need to be something even more fundamental than built-in dictionaries, wireless content delivery, and other such bells and whistles.  What will be needed above all — and what the printed book so well embodies — is a stable platform.  Indeed, when was the last time one of your printed books was “upgraded” out of existence?

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Books, NOW!

Via Filed By and my good friend José Afonso Furtado’s Twitter Feed comes this fascinating Publishers Weekly story about Perseus Book Group and its BIG EXPERIMENT at BookExpo America 2009.  The crux of the matter is this: Perseus plans on publishing a 144-page book consisting of “sequels” to some of literature’s great opening lines — all within the span of 48 hours.

The title of the work — Book: The Sequel — clearly isn’t just about the content.  It’s as much if not more about the publishing industry and how it operates (or could operate), which is to say nothing of the existential crisis its main product — the book — finds itself in today.  What we have in Book: The Sequel is more than just print-on-demand, it’s essentially books, now!

I’m usually fairly circumspect of experiments like these.  Rarely are they particularly well thought through, and often they put far too much faith in simple, technological solutions or outcomes.  Not here.  Perseus proposes a remarkably holistic picture of what book publishing could be in the not-so-distant future — or later this week, if you want to get all “the future is now” about it.

First, the substance: crowdsourced content.  There already have been experiments in collaborative book writing, so in a sense what Perseus is doing is not altogether new.  Those who wish to contribute to the volume can log on to www.bookthesequel.com, where they can can pitch their own opening line sequels.  On the other hand, the Press’ experiment in crowdsourcing demonstrates one possible future function publishers may choose to take on.  That is, they may opt to become aggregators of decentralized information, as opposed to their simply remaining the gatekeepers of already centalized or unified information.  Perseus also plans on focus-grouping the cover designs using similar means, which is in keeping with my previous post on the marketing power of a site like Scribd.

Next, the product, which is multiple.  Perseus plans on releasing digital, audio, and online versions of Book: The Sequel, as well as a tangible, print-on-paper volume.  This is impressive.  Too often experiments in flash publishing result in only one of these — usually the e-edition and nothing more.  The looming test of the book industry’s mettle will be in how well it works — quickly and elegantly — across both analog and digital platforms.

Finally, the opportunities for post-publication interactivity.  Thus far publishing has done a fairly good job in recognizing the growing importance of author-audience interaction.  It has built ample infrastructure to support this.  But what the industry hasn’t caught on to well enough yet is the importance of decentralizing its social networks.  Online book marketing has been preoccupied with bringing audiences back again and again to the publishers’ or the authors’ websites.  This is understandable.  But we live in a time when conversations about culture happen all over the place, and increasingly on Facebook and Twitter.  It’s a testament to Perseus’ vision that it’s recognized how it need not try to control or consolidate the conversation about its book for that conversation to occur.

My only misgiving — and it is a significant one — about Book: The Sequel is that there appears to be no structure in place to compensate those who’ve donated their labor to create the book’s content.  This will have to change, even if it ultimately results in micro-payments to the authors (which, as Chris Anderson has shown, can add up in the long run).  Any book publishing business model that relies on crowdsourced content but that does not compensate the crowd for its initiative, wisdom, and goodwill surely will be unsustainable.

That said, Perseus plans on donating the profits of its grand experiment to the National Book Foundation. Who could have any truck with that?

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We Interrupt This Broadcast…

I argued that the publishing industry might take some inspiration from books like Dan Brown’s The Da Vinci Code and media guru Marshall McLuhan’s Understanding Media, both of which contain short chapters, as a way of helping people to fit reading better into their everyday lives.

Neither Conversational Reading nor The Reading Experience was particularly moved by my argument. Despite my caveats to the contrary, both insisted that I fell back on the “people have waning attention spans” refrain that too often gets trotted out in conversations about the alleged decline of book reading. I must not have been clear enough in my reasoning.

If we assume, as many do, that book reading is on the decline, then there are at least two ways of approaching the issue.

Option one is to imagine that people have been seduced by electronic media — lulled by television, the internet, Twitter, video games, and more into a state in which they are pathologically unable to focus and, by extension, incapable of following a book-length narrative from beginning to end.

Option two is to recognize the numerous “environmental” factors that make it extremely difficult for people to find sustained time for book reading in their everyday lives. Hence the examples from my earlier post, of leaf blowers, crying babies, etc.

Option one places all of the responsibility for not reading squarely on people’s shoulders and opens them (us?) up to moral condemnation. Why don’t people read much anymore? Because they’re obviously damaged by the electronic media!

Option two, on the other hand, is driven Terrarium by a different set of entailments. Instead of disposing us to pathologize people for not reading books, it asks us to consider what, precisely, gets in the way of reading. The assumption behind option two is that people do indeed want to read but that specific aspects of their everyday lives simply get in the way.

Clearly I prefer option two, and that’s what I had in mind in my post on The Da Vinci Code. People’s attention spans aren’t waning — or, at least, they’re not simply doing so. Instead, a host of environmental factors militates against our picking up books and sitting down with them for long, ponderous hours.

There’s a lovely example in The Late Age of Print (the book) that might illustrate what I’m getting at. In the chapter on Oprah, I discuss the surprising number of people who admitted on The Oprah Winfrey Show to reading books at stoplights while driving alone in their cars.

What can this banal example tell us? First, it shows us just how hungry people are to read. You must be desperate to do so if you break out a book for however long you’re forced to wait until the traffic light turns green. Second, it suggests that people don’t read more books in part because of the myriad everyday activities that, cumulatively, cause our free time to evaporate. Most of the stoplight readers happened to be en route to picking up children, for instance, or in the midst of running the types of errands that sustain the workaday world (grocery shopping, picking up dry cleaning, etc.)

Do these people have pathologically short attention spans? No. Is their attention divided? Absolutely. So why not begin writing books that would fit better into the world of option two? Might it not follow that people would begin consuming more books?

The other glaring issue here, of course, is economic class. Not everyone is sufficiently enfranchised to read for a protracted amount of time; doing so takes time, which costs money. The length of the average workday/week in the United States has risen steadily over the last 25 years, while real wages have fallen. Today we work longer for less.

Under these conditions, publishers and writers have a choice. Either they foment revolution and thereby free people to work shorter hours and to read more, or they adapt to the changing temporal and economic contexts within which people live.

Given the degree to which book publishing has become a bona fide capitalist enterprise, the choice seems pretty clear to me.

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What Publishing Can Learn, Part II

I can hear you groaning already. “Oprah? Really?” Yes, really. “Hasn’t that already been done to death?” No. In fact, there’s an awful lot left to say about Oprah and books.

I won’t get into the debate over whether Oprah’s killing (or has already killed) literature. I deal with that issue at length in The Late Age of Print, the book, and so I’ll leave that strand of the argument for there. Instead, I want to reflect here on what Oprah might tell us about the teaching of literature on the one hand, and about the form of books on the other.

Over the years I’ve pored over dozens of transcripts from The Oprah Winfrey Show — mostly those featuring Oprah’s Book Club. What’s impressed me time and again is how willing Oprah and her producers seem to be to meet readers — and, indeed, non-readers — wherever they are educationally and to usher them into the world of letters.

For example, one episode I looked at featured Oprah traipsing around a big-box bookstore, commenting on all the different books and amenities. I wish she’d also visited an independent bookstore or a public library, but even so the visit was telling. Most people — but especially English teachers — presume that literary instruction begins, well, in the literary classroom, with literary concerns. But what Oprah shows us is that there’s a prior element missing from most formal literary instruction, namely, dedicated lessons in where and how best to acquire books. In fact, I received an email from Oprah’s Book Club just the other day giving me tips on how to shop for books in a recession. Used books and second-hand bookstores figured prominently. Did your literature teachers ever consider offering advice like this?

Those who are already Terrarium well ensconced in the world of letters easily forget how intimidating their world can be for outsiders looking in. If you want to excite people about books and reading, take the time to show them in, and don’t belittle them for not already knowing the way.

My second vignette happened last October, when Oprah decided to endorse Amazon.com’s e-reader, Kindle. She effused about its portability and ease of use, and delighted in the speed with which she could acquire e-titles wirelessly. No big surprises there; that’s pretty much the standard story with Kindle. What did surprise me, however, was the utter exuberance one of the device’s more seemingly banal features seemed to inspire in Oprah and her studio audience. That feature was Kindle’s built-in dictionary.

Their exuberance ought to be telling us something. And that “something” is all about people’s implicit dissatisfaction with the form of print-on-paper books. We live in a time of rising expectations in terms of ease of access to information. If I’m trolling the web and encounter a word I don’t know, I can have multiple, highly-reliable definitions delivered to me within seconds. But if I’m reading a paper book and run across, say, “sybarite,” I have to stop reading, get up, walk across the room, and hope my dictionary contains the entry. So why don’t publishers begin including glossaries and other such readerly amenities in their books as standard features, to save people the trouble?

Maybe this suggestion sounds far-fetched. Yet it’s no more far-fetched than breaking books up into chapters, or including tables of contents, page numbers, indexes, and so forth. Indeed, it’s easy to forget that the “standard” formal attributes of books haven’t always existed. Every last one of them had to be invented, and each was invented in response to historically specific needs. (Check out some of the images of early printed books in Walter Ong’s Orality and Literacy to see what I mean.) Perhaps it’s time, then, to revisit the form of the printed book and to re-engineer it for a 21st century media context.

Who knew a television talk show host could tell us so much about a medium that’s supposedly being killed by…television?

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TERRARIUM TV FOR PC

TERRARIUM TELEVISION FOR PC
Windows individuals could currently access Terrarium TELEVISION on their COMPUTER. If you have Windows 7, 8, 8.1 or 10, there is an easy means to run Terrarium TV on your computer.

Why Install Terrarium TELEVISION for PC:

Terrarium TVs functions make it rather the necessary app for movie and TELEVISION reveal fans. This Android application can play premium quality films and TV shows,Terrarium TV with subtitles in your recommended language, as well as download and install and also chromecast your content for every person to take pleasure in.

Although it is an Android app, Terrarium TELEVISION could be made to run on your Windows PC, using an Android Emulator software program that you could download and install absolutely free. BlueStacks is advised for beginners. If you like to have great graphics together with utility, go with Andy. ManyMo is a paid, online-only emulator that is often favored by application developers. For this objective, the basic BlueStacks should be enough.

A Little on Android Emulators:

Android Emulators are software program that mimic Android OS on your COMPUTER or Mac. Emulators get rid of the have to boot the PC to use various OS, and also fit their OS in the various others interface.Terrarium TV for Chromecast To get BlueStacks, visit the main site of the application, bluestacks.com. Andy could be downloaded and install totally free from its site andyroid.net. ManyMo can be accessed only by means of manymo.com, where you could submit your apk documents and also use them.

Follow these very easy actions to install Terrarium TV on your PC.

Download Terrarium TV APK

Review our page on Terrarium TELEVISION APK to figure out how.
Download and install BlueStacks

You could visit the main site and also download and install the documents from there. It is an exe file of around 25 MEGABYTES,hotstar which shouldnt take long to download and install on a typical internet connection.
Mount BlueStacks

Run the downloaded file and also you need to be directed via the setup. Save your work on various other applications prior to, so you could reboot the COMPUTER if asked to.

Run BlueStacks as well as login making use of a Gmail account. You can make one afresh in the very same window if you desire.
Open up Terrarium TELEVISION APK on BlueStacks

Right click the downloaded apk data. Click “Open up With” and select BlueStacks from the list of programs that turns up. The app will start installing.
Run Terrarium TELEVISION

When the setup is total, you will certainly obtain an alert. You could now go to “My Applications”, choose “Terrarium TELEVISION” from the list as well as utilize it to your hearts material.
Try out Terrarium TELEVISION on your PC and experience amusement and alleviate like no place else.

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