A publishing phenomenon in China

Aventurina King at Wired is reporting on a publishing phenomenon in China, where free web access to novels has spurred record sales of printed books.

Literary sites like Source of Chinese and Magic Sword invite authors to upload their novels onto the web, where they might get noticed by an avid audience of young readers and eventually by publishers. King tells the history of Zhang Muye's serialized novel Ghost Blows out the Light, which has been "viewed more than 6 million times online" and has "sold 600,000 in print," and of another novel titled Killing Immortals that was launched online before selling over a million copies.

This is a collaboration of media that provides opportunities for emerging writers, increases revenues for the sites and for the publishers, and broadens readership. King mentions that "writing and reading novels has become the hobby of an estimated 10 million youth." The trend also strikes a balance between the "wisdom of the crowd" in determining pop-culture merit and old-fashioned editorial gatekeeping, since site publishers can identify the best novels to present only on their for-pay "VIP section."

The trend even contains a hint of throwback to the Victorian age, with its rage for serialized epic-length stories:

In the print world, book length is limited by the cost of paper, printing and distribution. On the Internet, where production costs are close to zero, length equals profit. VIP readers pay a couple of cents for every thousand characters (a print novel generally has 250,000 characters). Contracted authors are paid seven to 12 dollars per thousand characters, depending on their clout.

I've been arguing for years that hypertext does not represent any threat to the book. Here's a case of the web's influence to preserve a traditional aesthetic in writing while revolutionizing the economics of publishing, for the benefit of writers and publishers and the public.

Nor is it in the least surprising that the audience is willing to buy the books they can acquire at a lower price or even for free online. The pleasure of reading, especially fiction and poetry, continues to require the physical page. In his essay "Visible and Invisible Books" that appeared in The Future of the Page, University of Virginia's Jerome McGann points out that:

The history of the book medium and the development of fictional conventions within that medium have evolved an extraordinarily nuanced and flexible set of tools for the imagination. The truth is that the 'hyper' media powers of the book, in this area of expression if not prima facie, far outstrip the available resources of digital instruments.

On the Road for 50 years

I've been following the NY Times open forum on the 50th anniversary of On the Road, which has racked up almost 300 comments so far (just before noon, Wednesday).

More praise than criticism, I'm pleased to see. Much of the condemnation of the book amounts to an ad hominem against Kerouac himself for his treatment of women, drug addiction, alcoholism, etc. Much of the praise amounts to lyrical affirmations of the counter-culture movement. But nowhere, so far, has there been any mention of the typewriter's role in that novel.

The book that Truman Capote dismissed as "typing, not writing'' is the quintessential typewritten novel, and the story of its making is the stuff of legend: Kerouac, pumped up on coffee and amphetamines, composed On the Road during a 20-day marathon in April 1951. To avoid having to stop repeatedly and insert paper, he stitched together a 120-foot scroll beforehand and fed it into the platen.

Kerouac could thus type as he had traveled, the pages rolling through the typewriter like the road rolling under the wheels of cars on their way west. On the Road couldn't have been written any other way. The typescript sold for $2.4 million in a 2001 auction.

Today we write with whispering keyboards on electronic screens. We run spell-checkers, move blocks of text around at will and print perfect copies that never have to be marred by an eraser or a handwritten correction. Fifty years ago, Kerouac created the prototype for one part of the modern technology: Word processors provide a "virtual'' scroll that allows us to glide along without interruption, from page to page, on a spotless white road that stretches to the vanishing point of an imaginary highway.

The Kerouac scroll was a rough, two-lane Rt. 66.

The major drawback of our modern word processors is that they make editing and revising too easy. They distract writers with limitless opportunities to second-guess themselves, to tinker with every sentence, to rethink and revisit everything they write. That writers get anything accomplished is a wonder.

His scroll compelled Kerouac to move relentlessly forward, along with the momentum of the work. It moved in one direction only, through the story and out of it, with no way to retrace his steps or reconsider his course. The lack of an opportunity for second thoughts set him free.

I think the immediacy of blogging is a healthy correction to the impulse for always producing faultless copy. In the rush to continue this freeforall online conversation, we publish errors and infelicitous phrasing. That in itself is a healthy, humbling discipline.

I think that if Jack Kerouac were alive today -- and sober -- he'd be blogging with the rest of us.

(Note: Parts of today's entry are re-cast from a 2001 article I wrote for the Columbus Dispatch.)

Peer review threatened by online academic publishing

I couldn't help but smile over Andrew Leonard's Weekly World News-inspired headline on Salon yesterday:

INTERNET ALIEN COMMUNISTS THREATEN TO NUKE 1000 YEARS OF ACADEMIC TRADITION!

This posting on his "How the World Works" blog covered the shutting down of the Weekly World News, and an article by economist Glenn Ellison about the future of peer review in academic writing and publishing.

The issue is over economists who are short-cutting the rigors of traditional academic publication by posting their papers online, for public consumption.

Ellison, Leonard writes, has compiled "data indicating that top economists are responsible for a shrinking share of the articles published in the best journals. And while this might be good for promoting public access to the latest in economic thought, it's bad, suggests Ellison, for the time-honored academic practice of validating the merit of new research through rigorously mediated peer-review."

While there's no question that peer review is essential to assuring the accuracy and soundness of academic research, the practice tended to centralize scholarly authority in a limited number of "elite" journals. If prominent academics bypass the journals by sharing their work online, the privileged status of the journals (and of the universities publishing them) is diminished.

This diminution of privilege begins to level the playing field between institutions of higher learning, since professors at "non elite" schools can now have electronic access to the data and other resources once physically confined to the major research centers.

And in an online world where space and location can't erect barriers to collaboration, “an up-and-coming new-growth-theory theorist at the University of Florida can coauthor a paper with a Stanford or Harvard or Chicago professor without having to move across the country."

Leonard refers to this new development as "the democratization of education." It's also a serious threat to the major research institutions that subsist lagely by commodifying knowledge.

More bad news for print publications

NPR's Morning Edition has carried a story about another blow to traditional print publications. This time, though, no one's blaming the Internet, since the problem originates with the United States Postal Service.

Postal rates for magazines are scheduled to rise on July 15, an average of 13%, but the increases will not be uniform. Because they're not automated to USPS standards, small magazines like the American Poetry Review will see a steeper hike (20% or higher) than the big titles like Time, which may see increases of less than 10%.

To the editors of the small magazines, the inequities seem both unjust and suspicious.

NPR interviewed Teresa Stack of The Nation and Jack Fowler of the National Review, publications on opposites sides of the political divide that are nevertheless united in criticism of the USPS policy that will cause enormous increases in mailing costs.

"For a small magazine, $100,000 is a major amount of money. Opinion journals, because they are opinion journals, are often kryptonite to potential advertisers. Therefore, we are much more dependent on lower postal rates than the big boys."

The big boys in this case are the magazines published by media giants like Time Warner. Professor Robert McChesney (University of Illinois-Champaign) believes, in fact, that Time Warner was one of the architects of the new rate policy, which in effect eliminates a "periodical subsidy" that's been in effect since the beginning of the postal service.

That subsidy was created in the first place because "the founding fathers wanted to subsidize the delivery of newspapers and magazines," in the belief (as McChesney says) "that self-government requires a diverse and vibrant press. And the genius of the postal subsidy then, as now, is that it doesn't favor a particular viewpoint. It doesn't allow the government to pick which magazine gets it and which doesn't."

One might argue, as the USPS and Time Warner do, that this is no attempt to undermine a free and vibrant press, in order to favor corporate media. It may be true that this is simply a case of economic concerns trumping the needs of a democratic society, which is perhaps an even sadder interpretation of the situation.

In either case, corporate media continues to grow, and the independent press is further diminished.

The future of online text - looks a lot like poetry

Earlier this month VentureBeat reported findings by Walker Reading Technologies regarding the inefficiency of conventional linear text, the kind you're reading right now.

Since "the natural field of focus for our eyes is circular," they say, our effort to focus on a single line, our brains are force "to a wage a constant subconscious battle with itself to filter and discard the superfluous inputs" from the lines of words above it and below it.

So Walker Reading Technologies has unveiled its LiveInk program that analyzes "written language for meaning and language structure, and then applies algorithms that reformat the text into a series of short, cascading phrases. It breaks complex syntax into simpler syntax, which makes it easier for the brain to absorb the material."

The resulting lines of text, which they illustrate in a jpeg, are remarkably similar to free verse, or simple found poetry.

Poets, of course, liberate their language from the forced march of prose linearity by breaking lines, to indicate both the natural pause of the human voice taking a breath, and to reveal deeper semantic and syntactic levels of utterance. It's coincidental that a program is developed to break prose into poetic lines at the same moment when contemporary poetry is moving from the printed page into what is often spontaneous and unique oral performance.

The company claims that LiveInk increases reading comprehension by "10-15 percentile points on nationally standardized reading tests." If their claim can be substantiated by educators, LiveInk could unleash the potential of the e-textbook at all levels of education. The great objection to online and electronic text is that it's difficult to read, because of the limited resolution possible on the screen or monitor, in comparison to the high resolution of the printed page.

But the physical book is limited by practical considerations of physical space, the size and number of pages that can reasonably be bound and carried -- a limitation that doesn't apply to hypertext, since the formatting of lines will have minimal effect on the size of the file or its demand on memory space.

If LiveInk truly enhances comprehension and improves comprehension, it will mark a revolution.

The one question is whether students will resist LiveInk's reformatting of the line. After all, it looks suspiciously like poetry, a form of writing that most students in my classes over the past 35 years have rejected as being too "weird-looking" to understand.

In praise of paper, in hope for hypertext

I've just finished reading Matthew Sharpe's dark, hilarious novel Jamestown, in which one of the multiple narrators wonders at himself in the act of recording his thoughts on "humankind's flimsies and least likely invention, paper."

My own feelings about paper are untinged by irony, but hypertext has complicated my relationship with it.

Last month, I spent an afternoon sorting through some boxes I'd left unopened in the basement for over a decade, and discovered a folder containing yellowed typescripts of poems I'd assumed lost after a hasty division of personal effects when my first marriage suddenly ended. My only other copies existed as WordPerfect 5.1 files on a 5.5" floppy -- irretrievable, corrupted documents on antiquated technology.

Our electronic files are fragile, in danger of obsolescence. Paper lasts. Even when the individual page disintegrates with age, the technology remains constant, unchanged for thousands of years. All hail to paper.

A few weeks ago at Salon, Laura Miller reviewed David Damrosch's The Buried Book, which is an account of how the Epic of Gilgamesh lay "buried in the ruins of a Mesopotamian palace" for almost 3000 years before being unearthed by archeologists in the 19th century. The story, of course, was recorded in cuneiform and baked onto clay tablets -- an even hardier medium than paper.

I have no idea what expectations the Gilgamesh scribe might have entertained about the future, the longevity, of his efforts. It's clear, though, that papyrus and then paper enticed writers to visions of immortality. The paper text offers the advantage of being easily reproduced, whether by scribe or (later) by press. This possibility of such permanent, portable, reproducible records led the Roman poet Horace to predict (rightly!) that his poems would outlast bronze monuments ("Exegi monumentum aere perennius"), a sentiment echoed by Shakespeare ("Not marble, nor the gilded monuments / Of princes, shall outlive this powerful rhyme") and other writers through the ages.

I continue to work in the medium of the printed page, almost every day, pursuing every writer's dream of a finished, published piece that will live beyond my allotted years. This morning I taught a Business Communication class in a computer lab where two editors from Columbus State's student literary magazine, Spring Street, were compiling manuscripts for this year's edition. Watching them work, I felt the old romantic thrill of bringing the work into print, birthing it into paper.

Hypertext, the electronic document, is impermanent. We bloggers and web writers commit our thoughts to binary code, electronic files, servers, and pixels on monitors -- all technologies that may be as useless in the next decade as my old 5.5" floppy is now. What we write today may be (will likely be) unavailable to a future audience in any form.

But its singular appeal is its novelty. Unlike paper, hypertext isn't freighted with millennia of cultural history, social associations or artistic expectations. It's a radically new medium, with potential that's we've just begun to realize.

The crisis in newspaper book reviews

Novelist Richard Ford has never read a literary blog, but he's ready to critique them anyway.

In a May 2 New York Times story about the decline of the book review in papers across the nation, Ford remarks that "“Newspapers, by having institutional backing, have a responsible relationship not only to their publisher but to their readership, in a way that some guy sitting in his basement in Terre Haute maybe doesn’t.”

While I'm reluctant to second-guess one of our greatest living authors (and a fellow Mississippian, as well), such high-brow stereotyping of the blogger lacks understanding and gratitude for the contributions the blogosphere has made to the book industry, and to individual authors such as Mr. Ford.

The crisis of the newspaper book review was a topic of conversation on yesterday's Talk of the Nation, when John Freeman of the National Book Critics Circle was a guest. Economics are at the root of the problem, with publishers struggling to cut costs in the face of market uncertainties, in part brought on by Internet competition. Seemingly no one views this as a welcome development, and no one with an ounce of sense is about to claim that the blog can replace the traditional book review.

But book bloggers are a major force for good for the publishing industry, and for authors. Motoko Rich of the Times mentions the case of the short story collection This Is Not Chick Lit, which was largely overlooked by print reviewers but received a great deal of support and attention in the blogosphere. The result? The book "is now in its sixth printing with 45,000 copies in print."

I hope that Mr. Ford, a man of great sagacity, will reconsider and sample at least a few of the book blogs where 'guys sitting in their basements' have been promoting his work for years. I myself stand second to no one in my love of the old-fashioned book review, and I hope for its rescue.

However, if it goes the way of extinction, the blame will fall on the newspaper publishers who have abdicated their responsibility to the literary community -- a responsibility that the literary bloggers seem happy to assume.