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Tag: bookstores

Something for the Weekend

Punching Through the Din — designer Jim Northover on the exhibition of Saul Bass movie posters at Kemistry in London.

This is the End — Sarah Weinman on chronicling the end of the chain bookstore era:

But maybe what really happened was as simple as this: chain bookstores were never supposed to last as long as they did, and have reached their natural end point after twenty years. Publishing in general has enough struggle with scale, either being too small and prone to great risk and failure, or too big and beholden to larger entities who want greater and greater annual profits. Whatever possessed us to think bookstores could operate this way? Why is the art of bookselling supposed to be conflagrated with abundance, with excess and with millions of square feet?

And on a somewhat related note…

The Cost of Keeping Authors Alive –Boyd Tonkin for The Independent (via MobyLives):

Dirt-cheap e-books benefit the very rich – and the very dead. They might also help new authors to find a foothold and win an audience – although, on that logic, newcomers should think about showcasing their work for nothing. Many do. But the almost-free digital novel hammers another nail into the coffin of a long-term literary career. Who cares? Readers should, if they cherish full-time authors who craft not safe genre pieces but distinctive book after distinctive book that build into a unique body of work.

(see also: Margaret Atwood at TOC)

Kick Ass Annie — An interview with Anne Koyama, the founder and operator of Toronto-based Koyama Press, at Design Feaster:

I look at all kinds of artwork, films, architecture, photography and typography. I subscribe to a lot of art/artist’s blogs. I like to walk around cities and try to really see the details of things around me (which is more difficult than you may think for someone possessed of a short attention span). I carry a little point-and-shoot camera often. Of course, all of the artists I work with inspire me and I seem to find a few artists each week that I’d like to work with if I had the funds.

And lastly…

Meet the Classics — A Brazilian ad campaign to promote Penguin Classic Books (via This Isn’t Happiness).

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Something for the Weekend

Blinders — Charles Burns, author of Black Hole and X’ed Out, interviewed at Full Stop:

I’ve never really – and this sounds stupid because I’m working in a commercial medium – but I’ve never thought about an audience, or written for a specific audience, per se. I’m just trying to pull together my ideas in the best possible way, and I’ve never tailored those ideas for a particular audience. I bet I could do a pretty good teenage vampire story, for example. It would have plenty of romance, and just the right amount of titillating sex, but I think I’d wind up out on the Ben Franklin Bridge looking down at that water and thinking it looked pretty good down there [laughs]. I’ve really tried to put blinders on and just tell my stories the best way I can.

Book designer Stefanie Posavec at 10 Answers.

And thanks to MobyLives for pointing me to this 2008 article from The FontFeed: Top Ten Typefaces Used by Book Design Winners.

A Step Behind Where They Needed To Be — Peter Osnos on what went wrong at Borders for The Atlantic:

Borders stores took on a generic quality as executives and investors lacked the knowledge and patience to address the chains’ mounting problems. I’m sure there is more to this story (especially in the financial and real estate areas) than I know, but what really hurt Borders from the perspective of a book person like me was that the chain was no longer in the hands of true book retailers… Whatever else Borders does in the months ahead, it needs to recover its belief that real book-selling is an art (with all the peculiarities that entails), as well as a viable business.

And finally…

A look inside Seasons, the new book by the amazing French illustrator Blexbolex, published by Enchanted Lion Books:

(via Printeresting)

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Midweek Miscellany

Beautiful typographic notecards by Chicago-based designer Tom Davie.

The King of Comps — The prolific Ian Shimkoviak, one half of The Book Designers, interviewed at Caustic Cover Critic:

Every designer has their way of doing things… For me, I start with 3 sketches and as I work on those it will lead to other potential solutions and then I see something online or on a walk or in a magazine and it seems like it could work well for that project too and it just goes on and on. Things also happen unexpectedly. Something happens almost by accident and it looks interesting and somehow works.

No Layout — described as “a digital library for independent publishers, focusing on art books and fashion magazines.” (via Michael Surtees)

Warmblooded — NPR talks to independent booksellers, including Rebecca Fitting and Jessica Stockton Bagnulo of Greenlight Books in Brooklyn, about the future of bookstores:

“I kind of feel like we’re coming to end of the age of dinosaurs and there’s all these warmblooded animals running around instead,” [Fitting] says…

For her part, Bagnulo sees the chains’ woes — and the recent news that Google is entering the e-book market — as something of an opportunity.

“The potential is for there to be two trends,” she explains. “Digital content — which is ubiquitous and everywhere — and the local, boutique, curated side. And the chain stores unfortunately don’t have the advantage in either of those areas. I mean, they can’t carry every book in the world in their store, and they don’t have the same emotional connection to their neighborhood that a local store does.”

And finally…

Author Umberto Eco on WikiLeaks and how technology advances crabwise (and sounding weirdly like William Gibson) for Presse Europ:

So how can privy matters be conducted in future? Now I know that for the time being, my forecast is still science fiction and therefore fantastic, but I can’t help imagining state agents riding discreetly in stagecoaches along untrackable routes, bearing only memorised messages or, at most, the occasional document concealed in the heel of a shoe. Only a single copy thereof will be kept – in locked drawers. Ultimately, the attempted Watergate break-in was less successful than WikiLeaks.

I once had occasion to observe that technology now advances crabwise, i.e. backwards. A century after the wireless telegraph revolutionised communications, the Internet has re-established a telegraph that runs on (telephone) wires. (Analog) video cassettes enabled film buffs to peruse a movie frame by frame, by fast-forwarding and rewinding to lay bare all the secrets of the editing process, but (digital) CDs now only allow us quantum leaps from one chapter to another. High-speed trains take us from Rome to Milan in three hours, but flying there, if you include transfers to and from the airports, takes three and a half hours. So it wouldn’t be extraordinary if politics and communications technologies were to revert to the horse-drawn carriage.

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Something for the Weekend

Circulation and the City design by David Drummond

New from David Drummond

The Original Spirit — Toronto indie institution This Ain’t The Rosedale Library (one of the 10 best bookshops in the world according to The Guardian) featured at Books@Torontoist, with some nice quotes from owner Charlie Huisken:

“creative knowledge [is] accumulative and comes from many sources… Being an autodidact has served me well”

Books in the Age of the iPad — Craig Mod’s article on printed books and digital publishing caused much of a flutter on Twitter yesterday. I’m not sure that I entirely agree with his thesis — which seems to imply that some kinds of content can be completely divorced from their media — but his website is beautifully designed, and more importantly he makes some interesting points. I especially like his conclusion:

I propose the following to be considered whenever we think of printing a book:

  • The Books We Make embrace their physicality — working in concert with the content to illuminate the narrative.
  • The Books We Make are confident in form and usage of material.
  • The Books We Make exploit the advantages of print.
  • The Books We Make are built to last

In that vein, more on David Pearson‘s beautiful book cover designs for Cormac McCarthy at We Made This. I love that he used rubber stamps…

And finally… Jaron Lanier, author of You Are Not A Gadget, talks about the failure of Web2.0 with Aleks Krotoski of The Guardian:

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John Downer Glass Gilding Video

Following up from last week’s Midweek Miscellany post, here is glass gilder John Downer talking about creating that amazing lettering for Reserve‘s window in Los Angeles:

Reserve Glass Gilding by John Downer from Reserve LA on Vimeo.

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Midweek Miscellany

EndGrain — A “directory and aggregator for wood type and letterpress works and information on the web.” Lovely.

Crash — Iain Sinclair (author, most recently, of Hackney, That Rose-Red Empire — just out in paperback by the way) on JG Ballard’s artistic legacy:

A late moralist, he practised undeceived reportage, not prophecy: closer to Orwell than HG Wells. Closer to Orson Welles than to either. Closer to Hitchcock. Take out the moving ­figures on staircases that go nowhere and stick with hollow architecture that co-authors subversive drama

Picture Book Report — 15 artists create illustrations inspired by their favourite books. Pictured below: Kali Ciesemier‘s take on Sabriel by Garth Nix. I’m also looking forward to Robot Johnny‘s take on The Hitchhiker’s Guide to the Galaxy (via The Art Department).

Indigo 2.0Canadian Business magazine on Indigo and their digital book division Kobo:

“Kobo has been across the smartphone space from the beginning,” says Lisa Charters, senior vice-president and director of digital for Random House Canada. “And that unique offering is really important to us as publishers, because we want consumers to have all options to read e-books, and not necessarily have to purchase a $300 device.”

What’s more, says New York publishing consultant Mike Shatzkin, “they beat Google into the cloud.” Kobo’s library system is based in cloud computing. When you buy a Kobo book, it resides on Kobo’s servers and you access it via your device of choice. So when you squeeze in 20 pages of The Lost Symbol on your laptop in the morning, and later that day open the Kobo application on your BlackBerry, Kobo automatically plops you down on page 21.

Interesting stuff, although I do wish journalists could stay away from the Gutenberg clichés (and Dan Brown. Barf).

And finally…

Reserve Window Design — “We hired our good friend John Downer, who is a professional sign painter & typographer, to fly to LA to do gold leaf lettering on our store window & transom. Glass gilding is becoming a lost art that only a few dozen people in the United States still know how perform” (via We Love Typography):

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Keep Calm and Carry On?

There is nothing quite like pricing to get book people’s pulses racing and the recent price war in the US — and the American Booksellers Association’s open letter to the Department of Justice — certainly has everyone and their mother all aflutter.

We have plenty of pricing issues of own in Canada. The unique challenges of publishing here (big geography + small population) and the fluctuating US dollar make Canadian pricing particularly fraught. But we haven’t really seen the same kind of problems as the US or the supermarket price wars that have plagued the UK.

As The Toronto Star helpfully points out, Canada is different. But it is not simply a matter of being more polite than Americans (or nicer than the British) — what makes us different is that we are a small book market dominated by a single retailer. Dropping the gloves with Canada’s Chief Booklover hardly seems worth the effort.

Nevertheless, Canadian consumers keep a keen eye on the US and a sustained price war south of the border would inevitably put pressure on bookstores in Canada (including Chapters-Indigo). It would be foolish to ignore what is going on.

The most emotive issue is, of course, the detrimental impact of price wars on already struggling independent bookstores. As HarperStudio’s Bob Miller notes:

The short-term results of this price war are some losses for Wal-Mart and Amazon, and some brisk sales for the publishers whose books have been chosen. But the “road kill” here are the accounts who can’t afford to participate in the race—traditional booksellers.

Clearly though, publishers like Miller are worried too. It has been a particularly difficult 18 months in US publishing, and the thought of additional pressure on prices and discounts is, for many, terrifying. We seem to be lurching from one crisis to the next.

But, is this really anything more than another storm in the tempestuous book industry teacup?

To some extent I agree with Mark and The New Yorker that twitchy book people are exaggerating the effects of this price war. We are, after all, only talking about ten books. This isn’t going to wreck publishing just yet. In the short term it will be good for sales, and as long as Amazon, Wal-Mart and Target are willing to take the losses, the publishers will be laughing all the way to the bank.

But there will clearly be problems down the road if this continues, and I think Michael Hyatt, CEO of Thomas Nelson, is on to something when he suggests that the strategy behind the price war is actually damaging for everyone publishers, authors, booksellers, mass retailers, and consumers (although Dennis Johnson at Moby Lives isn’t totally convinced by Hyatt’s solutions).

If there are going to be ‘winners’ in this, it is only going to be the big retailers and it will not be long before they demand more books and deeper discounts. Publishers will have to run the risk of crippling returns if the discounted books don’t sell, and will be increasingly reluctant to bet on creative projects. Corners will be cut in the effort to produce cheaper books that are short-term ‘sure things’.

Without over-stating it, I am also troubled that such discounts set the expectation that all books should be less than $10 (and if you’re skeptical about setting expectations with arbitrary numbers, you might want to read Nudge).

In the end, you get what you pay for. Books — good books — take time and they take money, whether they are printed or distributed digitally. If a book costs less than $10, then you can expect publishers  — and self-publishers for that matter — to churn out a lot of poorly researched, quickly written, hurriedly edited, badly designed and cheaply produced books. And, as Don Linn, former Senior VP and Publisher at Taunton Books, points out, this will certainly hurt authors first:

When content’s price and value is pushed below a sustainable level for publishers… writers will suffer. They will be forced to make the economic choice to write less to finance their careers. It’s not enough to say glibly that ‘writers have to write so they will’ or that self-publishing will be their salvation. When content’s value drops, self-published content’s value drops as well.

Of course, publishers need to take responsibility here. Too often publishers dump bad books into stores in pursuit of a fast-buck, and they only have themselves to blame when stores demand big discounts up front and readers don’t actually want to pay full price for them.

And I think it is too easy to say that books (paper or digital) need to be cheaper and more ‘timely’. Sure. But I’m willing to bet that readers are also willing to seek out and to pay for books that surprise and delight (and that format isn’t the real issue).

It is difficult for publishers to think about the long-term (especially if shareholders are involved), but if we are seriously worried about pricing, then perhaps the place to start is publish books that are worth the price tag?

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Something for the Weekend, July 24th, 2009

Group Thinkery — Book-designing, tuba-playing Christopher Tobias has launched a new blog to discuss books, design, and publishing. Group Thinkery is also on Twitter.

I came across the stellar portfolio of High Design’s David High — which includes this rather brilliant cover for The Management Myth for W.W. Norton — earlier this week thanks to a tweet from the chaps at FaceOut Books. Go take a look.

Luck — In another one of those long, fascinating Agents and Editors Q&As from Poets and Writers that are always well worth your time, Jonathan Galassi, president and publisher of Farrar, Straus and Giroux, looks back at his career and comments on the current state of the industry:

One of the really hard lessons was realizing how much of a crapshoot publishing is—how you can love something and do everything you can for it, and yet fail at connecting it to an audience. Maybe you misjudged it. Maybe it didn’t get the right breaks. One of the hardest things to come to grips with is how important the breaks are. There’s luck in publishing, just like in any human activity… That was one of the hardest lessons: how difficult it is to actually be effective… Writing is its own reward. It has to be. I really believe that. This is a part of publishing that’s really hard to come to grips with. But publishers can’t make culture happen the way they want it to happen… We can huff and puff and pay money and advertise and everything else, but in the end, if the readers don’t come, we can’t do anything about it.

The lovely-looking limited edition, hand-made Done Walking With My Regular Shoes by recent graduate Stina Johansson. The cover design is screen-printed onto canvas (via DesignWorkLife).

Andy designing — The New Directions blog looks at the book designs of Andy Warhol:

Andy Warhol worked for New Directions as a book designer off and on for almost 10 years. Our editor-in-chief recalls James Laughlin telling her an Andy Warhol anecdote:

“He was a very strange looking man. But all the secretaries loved him because he would sneak little origami creatures on their desks when they weren’t looking. One time as he was walking out of the office he looked bashfully over at a secretary goggling at him and said ‘I like you. You’re so hirsute.’ Her reply? A very soft and giggly ‘thank you.’”

Personalization — Steven Heller talks to Rick Smolan about The Obama Time Capsule, a book that can be customized by the reader before it is printed:

I wondered if there was a way to create a book that wove together all these amazing images with each individual book buyer’s own story, photos and even their children’s artwork, so that every single copy was unique. I intentionally didn’t want to do a trade book edition because part of the goal was to have no books in warehouses, no print run, no books printed that might have to be later pulped and destroyed, no books shipped over by container ship from China or Korea (where all the big coffee table books are printed). The idea was to do the book of the future 10 years ahead of its time.

In this particular instance the customization of the book sounds a little gimicky to me, but possibilities it opens up seem pretty endless…

And lastly… Not being very quick on the uptake (what, you noticed?) I just came across the winners of The Strand bookstore’s Eye on The Strand photography contest. The Grand Prize was awarded to Josh Robinson for ‘Strand Shadows’ (above) and the contest exhibition, which opened on July 15th, will run through August 26, 2009 at the Pratt Institute CCPS Gallery, located at 144 West 14th Street, New York. I’m also rather fond of Cary Conover’s ‘Upside Down’ which took second place:

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Something for the Weekend, Feb 27th, 2009

The 5 Rules of Book Cover Design Book — John Gall, VP and art Director at Vintage, talks about designing books at Barnes & Noble (video). There is also a nice print interview with John Gall from 2007 at STEP Inside Design magazine and another interview with the designer from the same year  at fwis Covers website (which is worth it just for the immortal line: “I want a telepathic dog.”) (John Gall at the Book Cover ArchivePragmatism: A Reader designed by John Gall,  pictured above)

Fear, panic, and a little bit of hope — Sarah Weinman discusses the perilous state of  the publishing industry on NHPR’s Word of Mouth.

Chapters-Indigo‘s move into e-books, Shortcovers, goes live to much curiousity and twittering. The Globe and Mail has the basics, The National Post’s The Ampersand rounds up some of the reactions, but O’Reilly’s TOC seems to sum up the general mood: “A Good Start, But Room for Reader Improvement”. Michael Serbinis, the executive VP, writes about the first day on the Shortcovers blog.

(NB – I’ve sort of been ignoring the Kindle2 stuff as it’s not available in Canada, but — just to have some balance — E-Reads has a nice round up of the coverage).

Influence the futureAnthro Goggles lists the first 4 SF books you should read if you work in social media.

Jacket Copy — An interesting interview with David L. Ulin, book editor of the Los Angeles Times (who folded their standalone book section 6-months ago), in PW:

Ulin takes a realistic, broad-ranging view of how book coverage will be presented in the future. “I’m committed to both print and Web. There are two readerships, and I’m not sure they’re the same. My main interest is, how do we get the most book coverage to the most people?” Ideally, Ulin would welcome a return to the stand-alone book review. “But we don’t have one now, and we’re not going to have one,” he says.

modernism 101 : from aalto to zwart — “We specialize in rare and out-of-print design books and periodicals. Our carefully-selected online inventory spotlights both famous and forgotten modernist architects, photographers, typographers, and industrial designers in all their published glory.” How could I not link to this? Even if you can’t afford the books (which I can’t) you can at least look at the covers! (The Twentieth Century Book by John Lewis pictured above). (via ISO150)

And on a related bookporn note, Grain Edit has some rather nice pictures of Typographica, the design journal edited by Herman Spencer…

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Midweek Miscellany, Feb 25th, 2009

“Facts are stranger than fiction”The Toronto Star profiles  The Monkey’s Paw bookshop and owner Stephen Fowler (pictured):

“Books have been totally superseded by digital. A generation ago, books were not only the primary, but the only way we stored and transmitted culture. Books were culture. And they’re not any more. They’re these odd anachronisms,” Fowler says. “But that doesn’t mean they don’t contain all sorts of treasures. They’re beautiful and interesting and they have fascinating content and startling stuff in them.”

The serendipity of accidental discovery — Allison Arieff profiles William Stout, publisher and owner of the eponymous architecture and design bookstore in San Francisco, for the New York Times:

I love the tangents an afternoon spent searching the Internet can generate… But I realize as well that it’s contributing to a sort of collective ADD that makes ambling through aisles of a place like Stout Books feel that much more special, requiring an altogether different commitment of time, care and attention.

A Publisher’s Decalogue — 10 (+1) good rules for publishers from Alma Books (via The Book Depository Blog).

The E-Book Difference — The Book Oven’s Hugh McGuire on why publishers need to get to grips with e-books and mobile devices:

The reason digital and ebooks are going to become more important is that’s where the eyeballs are going to be. And if you can’t find more ways to get eyeballs on digital books, then I do fear for the future of (traditional) book publishing.

Making Magic — A sprawling interview with the brilliant (and possibly quite bonkers) Alan Moore in Wired:

I thought that a book like Watchmen would perhaps unlock a lot of potential creativity… I was hoping naively for a great rash of individual comic books that were exploring different storytelling ideas and trying to break new ground… That isn’t really what happened. Instead it seemed that the existence of Watchmen had pretty much doomed the mainstream comic industry

Borderless thinking —  Graham Vickers looks at how digital is rewriting the rules for publishers and distributors in The Guardian:

The most creative ideas are still to be found outside the orbit of the traditional media… in places where there were no predefined models, and no pre-existing ground rules to impede borderless thinking.

Daily Routines — A blog about how writers, artists, and other interesting people organize their days. For someone who endlessly struggles with their daily routine, I find this fascinating.

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Monday Miscellany, February 9th, 2009

“Books exist because we want and need them” — A slide show of pages from Robert Bringhurst’s new book The Surface of Meaning: Books And Book Design In Canada (pictured) published by CCSP Press in The Globe and Mail. (Disclosure: The Surface of Meaning is distributed by Raincoast in Canada).

A bookshop is a dynamite-shed — Bookride have posted a splendid John Cowper Powys rant about second-hand bookshops:

[A] bookshop — especially a second-hand bookshop — is an arsenal of explosives, an armoury of revolutions, an opium den of reactions. And just because books are the repository of all the redemptions and damnations, all the sanities and insanities, of the divine anarchy of the soul, they are still, as they have always been, an object of suspicion to every kind of ruling authority.

Pessimism Porn — Hugo Lindgren explains his addiction to nightmarish economic news  in New York Magazine:

“[E]cono-porn… feeds a powerful sense of intellectual vanity. You walk the streets feeling superior to all these heedless knaves who have no clue what’s coming down the pike. By making yourself miserable about the frightful hell that awaits us, you feel better. Pessimism can be bliss too.”

Publishing certainly has its fair share of addicts…

Visionary locations — Toby Litt on J.G. Ballard in the Guardian:

“Plenty of other writers now fictionally venture into multistorey carparks, airport hospital wards, decaying hotels, but they do so in the knowledge that they’re trespassing on Ballard’s territory. He was here first; he was the pioneer – back when these places were seen as totally unliterary. What could possibly happen on a motorway embankment that was of interest?”

Finding alternative best sellers — Toronto bookshop This Is Ain’t The Rosedale Library profiled by Brian Joseph Davis in the Globe and Mail.

Is CondéNet Dead? — Slate’s The Big Money examine how “a publishing giant failed to get the Web”. Lessons (if more were needed) for book publishers (via @jafurtado):

“To say that we’re just a magazine company in this day and age is like saying that we’re a buggy company.”

PUFF — lovely pictures of PUFF by William Wondriska (published in 1960 by Pantheon Books Inc.) at the wonderful Grain Edit (pictured above).

Image Spark— A neat image bookmarking tool. V. excited about this as you can probably imagine… (via @michaelSurtees/DesignNotes) .

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Something for the Weekend, Jan 16th, 2009

David Mirvish Books, the best fine art bookstore in Toronto, is to close. Damn. At least the Art Gallery of Ontario’s bookstore has re-opened with a decent selection of art books.

“It’s not something you should really do unless you feel really compelled to do it” — An interesting interview with Doug Seibold about founding Chicago-based publisher Agate over at Slate’s Bizbox:

As in a lot of other businesses, there’s a bunch of giant multinational conglomerates that are the big players, and they leave a lot of waste behind them. My feeling was a company that functioned efficiently at the appropriate scale could do a lot of business by being cost-effective and opportunistic. Not too little, but not too grandiose: growing at a careful, natural pace.

Attack of the “renegade cybergeeks”: New York magazine meets the team behind the New York Times’ online operation:

[T]here is something exhilarating about watching web innovation finally explode at the Times, with its KICK ME sign and burden of authority… Despite the effectiveness of blogs, the majority still mainly provide links and commentary. The Times Online suggests what might happen when technology fuels in-depth reportage

A little up it’s own arse and not short on hyperbole (“the New York Times is less a newspaper and more an informative virus”? Really?), it’s still definitely worth a read. Gawker’s predictably acerbic response can be found here.

“Poetry is both flourishing and floundering” — Neil Astley, editor of Bloodaxe Books, argues poetry must be responsive to readers not academic cliques, in the New Statesman:

The producers of poetry aren’t in tune with the lovers of poetry. Many poets and publishers are actually hostile to the promotion of poetry… They see marketing as a dirty word instead of simply the means by which their books are made available to more readers.

“Publishers… lost control of their industry” — a somewhat melodramatic (and therefore much-linked to) “autopsy” of the book business by Jason Epstein in the Daily Beast. I have a lot respect for Epstein, who is indeed a “publishing legend”, but it is worth keeping in mind that he said most of this in Book Business, published in 2001, and in an article for  Technology Review from January 2005. He’s also the man behind the futuristic-yet-seemingly-redundant (is there a word for that? Apart from ‘segway’?) Espresso Book Machine, so he’s not an entirely dispassionate observer.

Grant Morrison talks Batman with Publishers Weekly:

I wanted to assemble all the classical tropes of the pulp noir crime genre: the diabolical mastermind, the femme fatale, the inescapable traps, the secret societies of evil…and push them beyond all reasonable limits to a kind of screaming Death Metal crescendo.

Nice.

The Pelican Project: A collection of Pelican Book covers from the 1930’s through to the 1980’s (pictured). (I was reminded of this wonderful project by the eclectically brilliant FFFFound)

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