- Artist Nina Katchadourian, in a take off on the sometimes serendipitous placement of books on bookshelves, has created micro-stories told only in the words on the spines of books.
- At the site of UK bookstore Any Amount of Books (which also runs the blog Bookride), one can view “The Incredible Bookman,” a bookshelf that takes the form of a human, one who is perhaps charged with enticing you to read more books.
- The Guild of Book Workers is a 100 year old organization created to “establish and maintain a feeling of kinship and mutual interest among workers in the several hand book crafts.”
If you thought books were just to read - to entertain, educate or enlighten - then think again.Macleans Magazine ran a piece recently on a little bookshop in Old Montreal that displays its wares as museum-pieces. Librissime offers Dante's Divine Comedy, "bound in buttercream-white calfskin leather, a hand-chiseled brass rendering of the crossing of the River Styx by Italian sculptor Alessandro Kokocinski on its cover." Priced at $36,200, it "looks best bathed in indirect halogen light." The thinking behind all this is that the prospective customer has already read the book, and now "wants to honour it by turning it into art." If you are indeed brave enough to walk in off the street, and if something on display catches your eye, apparently gloves will be required before daring to touch the "artified memento."At the other, more utilitarian, end of the spectrum, books can be a handy substitute for a weapon. A number years ago I was visiting my friend Doug in Britain. He'd been living with friends in a big old house, and in that life of dilapidated grandeur, a music room of sorts was doubling as his bedroom. I was asleep on a futon at one end off the room; Doug was slumbering on a mattress at the other end. Evidently my snoring became so unbearable that Doug awoke, picked up the closest object - a hardcover book - and with remarkable and unprecedented marksmanship, he propelled the book across the room toward my invisible bull's-eye, clonking me in the head, silencing my snoring, and returning peace and quiet to the South London night.More Books as Objects: Limited Editions, A List of Bookish Objets, Books by the Foot, The Ultimate Prop
Skimming through the bestsellers and new releases at Amazon, you may have spotted the "limited edition" of Michael Chabon's new novel The Yiddish Policemen's Union. "This special limited first edition is personally signed by the author and numbered. The jacketed hardcover is packaged in a handcrafted wooden slipcase which is shrinkwrapped. A must-have for collectors," says the description. The book retails for $150, though Amazon has it for somewhat less.The phenomenon of "limited edition" books is ostensibly an odd one considering the prevailing belief that the publishing industry isn't in great shape these days, but from an economic standpoint it makes sense as an extension of "price discrimination." Price discrimination also explains why books (on this side of the ocean, anyway) come out in hardcover before they do in paperback. To borrow from an earlier post of mine, "The way the book publishers see it, there is a certain percentage of the population out there for whom getting a book as soon as it comes out is worth the premium of ten bucks or so. These people are willing to buy the book at this higher price, so the publishers take advantage of it. Once the demand for the higher priced edition has dried up, they put out a lower priced edition and then they can sell the same book to a second group of people for whom owning the book is worth less."But since the limited edition typically comes out at the same time as the hardcover, there must be more to it than just paying to get the book early. With limited editions, buyers are paying for the exclusivity of the edition, for the ability to own something that very few other people have and that has a distinct look to it, setting it apart from, for example, the copies of The Yiddish Policemen's Union that everyone else is walking around with. And while limited editions are often signed by the author and will often include some extra content - perhaps an exclusive afterward by the author or some special illustrations - these books are mostly bought as objects, as signifiers of fandom that can be bought by the uberfan. Either that or they are meant to be bought as extravagant gifts - again, paying for the uniqueness.It should come as no surprise then that limited editions are exceedingly rare in the world of books as compared to music and movies, where fans are much more willing to go to great lengths to express their devotion. As such, limited editions are most commonly put out for books by authors with cult followings, whose fans are willing to pony up the dough for the exclusivity of these special books. For example, Chuck Palahniuk's new book Rant is available in a limited edition and the original, 3,352-page version of Rising Up, Rising Down by William T. Vollmann can be viewed as a limited edition.There are also the authors whose fan bases are so huge that publishers assume that the with all the demand for their books, the limited editions will get bought as well. John Grisham's last effort, The Innocent Man came in a limited edition retailing for $250 and, of course, the "limited" editions of the Harry Potter books have been bestsellers in their own rights. The Deluxe Edition of the new Harry Potter book, retailing for $65, is currently the 21st most popular book at Amazon. $65 is apparently a small price to pay for "an exclusive insert featuring near-scale reproductions of Mary GrandPre's interior art, as well as never-before-seen full-color frontispiece art on special paper." And don't forget that the edition's "custom-designed slipcase is foil-stamped and contains a full-cloth case book that has been blind-stamped on front and back cover with foil stamping on the spine."There are also limited editions that seem to exist because they would make easy, yet extravagant gifts. I can imagine that the limited edition of Bill Clinton's memoir was a hot gift in certain powerful circles a few years back.As for me, I tend to be more interested in the words inside the books rather than the nifty packaging, though I'll admit to having been seduced a time or two by snazzy slipcovers and exclusive illustrations, though never quite enough to shell out the extra dough.(Thanks to Brent for the idea for this post.)
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The author and musician Alina Simone published her first collection of essays, You Must Go And Win, this past June. Unlike most writers who toil in obscurity before landing an agent, Simone’s editor at Farrar, Straus and Giroux, Eric Chinski, found Simone on Pandora.com, a free, personalized Internet radio service. After Chinski listened to Simone’s songs, he contacted her to propose that she write a book. “It seemed like he already viewed music and literature as part of one continuum,” Simone says. “Certainly, the best songs out there read like the best poems or short stories.” Of late, publishers and authors have begun to experiment more with audio as a natural step in the promotion of their books. Listening to music has always been an organic piece of literary consumption -- anyone who has queued up a favorite record of sad ballads while reading a heartbreaking novel, in order to up the emotional catharsis can attest to that. But recent trends suggest that readers are looking for even more direct ways to incorporate music into the reading experience. At readings for You Must Go And Win, Simone also performed her songs live, and since then, all of her appearances have morphed into music and literary mash-ups: She played live at benefits for the literary mentoring organization Girls Write Now, for Guernica Magazine, and at other writers’ book release parties, including Evan Hughes’ Literary Brooklyn, as well as the Brooklyn Book Festival this fall. When her book came out, Simone also contributed an author playlist to Largehearted Boy, a books and music blog run by David Gutowski. Since 2005, Largehearted Boy has run a beloved feature called Book Notes, for which recently published writers are asked to create a playlist for their novels; their song selections are explained in the context of both the writing experience as well as the characters in the story. Gutowski recently posted the 900th entry in the series, and has also started a Largehearted Lit series at WORD bookstore in Greenpoint, dedicated to authors who participated in Book Notes, plus musical guests. “There has definitely been a rise in author soundtracks as promotional items in a variety of formats,” says Gutowski. “From my experience, music is a great way to create a unique bond between writer and reader.” A number of authors have told Gutowski that writing the playlist essays are one of the most enjoyable pieces of promotion attached to their book tour. New Yorker editor Ben Greenman contributed two playlists to Largehearted Boy, timed to the release of his books. In the essay that accompanied the playlist for his short story collection A Circle Is A Balloon and Compass Both, Greenman wrote, “When I write, I don’t really listen to words with lyrics -- too distracting -- but many songs are in my mind, and as soon as I’m done writing, I run off and listen to them.” Greenman says that for him, the playlists are a way to amplify some of the themes in his books. “There were songs about romantic confusion or betrayal that were on a loop in my head as I wrote: Graham Parker songs, in particular, or Lou Reed songs,” he said of Circle. “It’s not that those songs helped me make the stories, but they helped me isolate the emotions that in turn helped me make the stories.” The novelist and essayist Corinna Clendenen is familiar with that line of thinking; it’s part of what led to her decision to write Double Time, a love story following a Dani and Dylan, twin sisters who are obsessed with music and choose to make it a powerful agent of change in their lives. Double Time came out on Audible.com in September as an audio book -- it has no printed form as of now. Songs punctuate the book’s 44 chapters, and Clendenen selected each track to underscore the unfolding events of the novel. Among them are Vampire Weekend’s “Oxford Comma,” Matt Costa’s “Vienna” and “Not Your Lover Anymore” by Blitzen Trapper. “The blending of story and song was something that developed organically as I was writing the book,” says Clenenden. “Early in the writing process, I started hearing songs in my head and putting their lyrics into chapter openings.” What began as a curiosity morphed into the notion that the songs she was listening to and connecting to the character of Dylan, a rising indie musician, could actually be incorporated in the book itself. Acquiring the copyrights involved clearing permissions with the artists involved, as well as the recording studios and occasionally the publisher. Clendenen also established an annual grant to an indie musician after Double Time has been available for sale for a year; the funds will be awarded to a band or artist in the form of five percent of the net proceeds from the novel. While Audible.com senior editor Matthew Thornton notes that audio is becoming a bigger part of literary consumption for readers thanks to audiobooks, he explains that books like Double Time are still a rarity. “We think it’s wonderful that authors are experimenting with creative ways to enhance listeners’ experiences of their audiobooks, not only with music but with different kinds of narration,” Thornton says. “But the weaving together of music and text is still relatively unusual.” By contrast, Richard Nash is the vice president of content and community at Small Demons (and formerly the publisher of Soft Skull Press), a site that catalogs endless cultural references found in books, from music and movies to people and objects. He sees incorporating audio and other cultural reference points as a way to allow readers to truly live inside a novel. “David Gutowski made it interesting and fun and gratifying,” Nash says of how Largehearted Boy weaves music and literature together via the Book Notes playlists. “But music is but one piece of a larger puzzle,” Nash says. “That being, how do we connect books to the daily elements of everyone’s cultural lives, to music, yes, but also to movies, to restaurants, to landmarks, to drinks.” As the Small Demons database expands, authors will be able to add greater context to the details pulled out by the site, and users will be able to find links between the references in their favorite books. Nash says readers will also be able to listen to the music that the author heard while writing. “You might choose to listen as you’re reading, or as you traverse a path taken by the protagonist as she listens to that music. Or you might stop reading, and close your eyes,” he says. Another service, Booktrack, demands that the reader listen to a preselected soundtrack while they read something on an iPad or tablet: As you work your way through the story, the app matches music to various plot points to create what vice president of publishing Brooke Geahan calls an “immersive” experience that audio playlists don’t necessarily take far enough, particularly “when the music and mood do not match up.” But on Spotify, a new digital music service that offers access to an enormous library of songs available both on PC and smart phones, both casual users and publishing companies have began to crank out playlists for books and authors. Mediabistro’s GalleyCat blog created a playlist in homage to Haruki Murakami, it offers a compilation of songs mentioned in his novels South of the Border, West of the Sun, Norwegian Wood and 1Q84. And publishers like Knopf are working directly with their authors to create custom playlists that readers can spin while they read; Jennifer Egan and Colson Whitehead are among the participating writers. If you’re reading (or re-reading) the Pulitzer Prize-winning A Visit From the Goon Squad with Egan’s Spotify mix, you’ll be listening to Death Cab for Cutie, Massive Attack and The Who. In the U.K., Spotify has worked directly with publishers to support forthcoming book launches, including James Corden’s autobiography and a book based on the television series The Inbetweeners. Still, despite the ease with which music and literature has intersected for her book, Simone suggests that the crossover often gives readers more insight into the author rather than the text, which is still a bonus for obsessive fans. “The key is keeping the quality high,” she says. She and Greenman, as authors, both worry about the promotional static diluting the value and impact of the book. “In the end, books are books, and albums are albums,” Greenman says. “They’re cooked differently, served different, and eaten differently.” Image credit: Flickr/Michael Casey
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British artist Su Blackwell's wonderful book-cut sculpturesDischarged books from the Stanford library find new life as a barPart Joseph Cornell box, part book about Joseph Cornell boxes (for more info)A selection of works by Georgia Russell, Cara Borer, and other artists whose medium is booksGerman designer Werner Aisslinger's storage modules, made of books, and then there's Housefish's shelves made of booksSecret hiding place book-boxesDonald Lipski's statue for the Kansas City Public LibraryJ. Crew's variations on the chic librarian: Library bookshelf cardigan & library charm braceletRaymond Waites library wallpaper & a bookcase "mural"... And finally: Ever wanted a marble bust of Schiller? Burns? Voltaire, Darwin, Plato, or Dante? Look no furtherMore Books as Objects: Limited Editions, Artifacts and Armaments, Books by the Foot, The Ultimate Prop
Books have an aesthetic value beyond what is written inside them (as I have discussed before), but sometimes this idea is taken beyond the notion of eye candy on shelves. One example: at an outfit called Rebound Designs, they are taking books, gutting them, and turning them into handbags. But fear not, purists. From the site's FAQ: Don't you feel bad cutting up all those books?Not really. Most of these books were damaged or being thrown away to begin with, I don't cut up valuable books or books in fantastic condition. I take great care to find books that are already falling apart or are unwanted, like out of date textbooks. via Boing Boing
We recently posted a new edition of Judging Books by Their Covers 2015: U.S. Vs. U.K. These comparisons are fascinating -- what does a "little billboard" on a book say about our respective cultures? I was recently looking at the covers of Dutch-language books and found many titles that I recognized. Despite our different cultures, we share many overlaps in our literary taste. I hoped that I could draw some conclusions about those tastes by comparing U.S. and Dutch-language book covers. After spending way too much time on the task, I conclude that I can't. The comparisons, however, are equally fascinating. With my tongue in one cheek, I've provided a few thoughts below. You are encouraged to take equally wild stabs in the comments. If anyone has more cultural insight, please do weigh in. The American covers are on the left, and the covers from the Dutch originals or translations are on the right. The Dinner is a good place to start as it was first published in Dutch in 2009. I understand the scorched place setting of the U.S. cover. Looking at the lobster on the Dutch cover...I'm thinking of a seaside restaurant in Maine. Maybe it's evoking the feelings that lobsters have when they go into a pot? That's how the tension of the novel feels, like being boiled alive? A Millions favorite, Stoner. I read the New York Review Books Classics version and it blew me away, so it is difficult for me to say anything that might sound disloyal. However, if I could draw a picture of my face after I read the novel, I would have looked exactly like the man in the Dutch cover on the right. I had to run this Dutch title through Google Translate to make triple sure that I had the cover of A Visit from the Goon Squad. It becomes "Visit the Thugs" in Dutch, which has a nice ring to it. I'm less clear about what purples evoke to the Dutch that turquoise on the U.S. hardback cover does not? Why one less fret on the neck of the guitar? Google Translate was no help in answering these questions. Some of the imagery for Freedom is similar, but the covers have very different feels. To me, the lake country in the U.S. cover evokes the gentrified world view of Patty and Walter Berglund. I'm interested in the choice of a flat field -- is it trying to say something similar to a Dutch speaker? If there is an Ornithologist out there, please let me know if the bird on the right speaks Dutch or English. Cloud Atlas by David Mitchell: wow. Anthony Doerr's Dutch translation is interesting as the publisher went with the U.K. cover (we declared it "pretty dull.") Maybe the Dutch designer agreed because there are some differences. Most striking are the changes of tint. The girls dress, for example, is much more vibrant on this cover than on the U.K. version on the right. In general, the U.S. cover takes the broader view of the book I read. I wonder if a reader in Amsterdam or London would disagree?
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I happened upon this story about a scheme to smuggle drugs into a Michigan prison using library books. From the Muskegon Chronicle:Inmates at the prison in eastern Montcalm County communicated with somebody on the outside, providing titles to check out from the Madison Square branch library on the southeast side of Grand Rapids. The outsider was to check out the books, cut open the bindings, tuck drugs inside, then reseal them. Then, the accomplice would return the books to the library and contact the inmates, telling them which drug-packed books to request.Luckily the plot was foiled before any books could be mangled in its service.