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satirical ad by leah l. burton, godsownparty.com
linda thomas, kiro-fm
Mark your calendars.
I’ve got another live book event on Thursday, Oct. 13, 7:30 p.m., at The Couth Buzzard Books and Espresso Buono Cafe, 8310 Greenwood Ave. N.
And there will be another new book by me debuting at this event.
More details shortly.
from inmagine.com
There seems to be a growing book genre, about Seattle white women telling their life stories via their yoga experiences.
First was Presidential sister Claire Dederer’s Poser: My Life in Twenty-Three Yoga Poses.
Now we’ve got Suzanne Morrison’s Yoga Bitch: One Woman’s Quest to Conquer Skepticism, Cynicism, and Cigarettes on the Path to Enlightenment.
In which, I presume, Morrison attempts to conquer skepticism, cynicism, and cigarettes, and achieve some form of enlightenment.
Is there room for more than one self-reflective yoga queen in this town?
And if not, how will they duke it out?
Perhaps they could stage a stand-off (or pose-off) on the stage at Hugo House. A series of increasingly difficult poses, to be maintained for at least two minutes each.
By the time they get to the upward-facing two-foot staff pose, we should have our winner.
1931 model bookmobile, from historylink.org
(Cross posted with the Capitol Hill Times.)
My book Walking Seattle, which I told you about here some months back, is finally out.
The big coming out party is Sunday, Sept. 24, 5 p.m., at the Elliott Bay Book Co. This event will include a 30-minute mini walk around the Pike-Pike neighborhood.
When I came up with the idea of a mini-walk, the store’s staff initially asked what the theme of my mini walk would be. Would it be about the gay scene, or the hipster bar scene, or the music scene, or classic apartment buildings, or houses of worship, or old buildings put to new uses?
The answer: Yes. It will be about all of the above. And more.
The reason: Part of what makes Capitol Hill so special (and such a great place to take a walk) is all the different subcultures that coexist here.
A tourist from the Northeast this summer told me he was initially confused to find so many different groups (racial, religious, and otherwise self-identified) in just about every neighborhood in this town.
Back where he came from, people who grew up in one district of a city (or even on one street) stayed there, out of loyalty and identity. But in Seattle you’ve got gays and artists and African immigrant families and Catholics and professors and cops and working stiffs and doctors all living all over the place. People and families go wherever they get the best real-estate deal at the time, no matter where it is.
On the Hill, this juxtaposition is only more magnified.
In terms of religion alone, Pike/Pine and its immediate surroundings feature Seattle’s premier Jewish congregation, its oldest traditionally African American congregation, the region’s top Catholic university, a “welcoming” (that means they like gays) Baptist church, Greek and Russian Orthodox churches, and a new age spiritual center. Former classic Methodist and Christian Science buildings are now repurposed to offices and condos respectively. And yet, in the eyes of many, the Hill is today better known for what happens on Saturday night than on Sunday morning.
A lot of Igor Keller’s Greater Seattle CD is a quaint look back at when this city’s neighborhoods could be easily typed, as they famously were on KING-TV’s old Almost Live!
Perhaps you might find a few more franchised vitamin sellers in Fremont, or a few more halal butchers near MLK and Othello.
But for the sheer variety of different groups and subgroups and sub-subgroups, there’s no place like this place anywhere near this place.
•
Though a lot of the time, these different “tribes” don’t live in harmony as much as in they silently tolerate one another’s presence.
To explain this, let’s look at another book.
British novelist China Mieville’s book The City and the City is a tale of two fictional eastern European city-states, “Bezsel” and “Ul Qoma.” These cities don’t merely border one another; they exist on the same real estate. The residents of each legally separate “city” are taught from birth to only interact with, or even recognize the existence of, the fellow citizens of their own “city.” If they, or ignorant tourists, try to cross over (even if it just means crossing a street), an efficient secret police force shows up and carts them away.
It’s easy to see that scenario as a metaphor for modern urban life in a lot of places, including the Hill. It’s not the oft talked about (and exaggerated) “Seattle freeze.” It’s people who consider themselves part of a “community” of shared interests more than a community of actual physical location.
The young immigrant learning a trade at Seattle Central Community College may feel little or no rapport with the aging rocker hanging out at a Pike/Pine bar. The high-tech commuter having a late dinner at a fashionable bistro may never talk to the single mom trying to hold on to her unit in an old apartment building.
Heck, even the gay men and the lesbians often live worlds apart.
It’s great to have all these different communities within the geographical community of the Hill.
But it would be greater to bring more of them together once in a while, to help form a tighter sense of us all belonging and working toward common goals.
…The more that the present is taken up with reunion tours, re-enactments, and contemporary revivalist groups umbilically bound by ties of reference and deference to rock’s glory days, the smaller the chances are that history will be made today.
It’s a shotgun aesthetic, firing a wide swath of sensationalistic technique that tears the old classical filmmaking style to bits.… It doesn’t matter where you are, and it barely matters if you know what’s happening onscreen. The new action films are fast, florid, volatile audiovisual war zones.
original mac screen fonts, from folklore.org
There’s a battle going on in the e-book field, one of the few media businesses that’s truly booming these days.
At stake: what these non-thing purchases will cost you.
In one corner: Amazon. The Seattle e-commerce king and Kindle e-book machine seller wants to set its own e-book prices (with most mass-market titles at $9.99), no matter what publishers want.
(Amazon also wants to eliminate the “hardcover window,” the early months of publication in which only the high-priced deluxe version of a book can be bought. Specifically, Amazon wants to sell e-books of a title the same week as that title’s dead-tree version first comes out.)
In the other corner: Five of America’s six biggest publishers (HarperCollins, Hachette, Macmillan, Penguin, Simon & Schuster), plus Apple (in a third corner?). The publishers have publicly proposed a different pricing structure, which they call “the agency model.” Under this scheme, publishers would set e-book retail prices. The e-book selling sites (Apple, Amazon, B&N, Kobo, etc.) would keep a 30 percent margin from this price.
Early last year, Macmillan threatened to withhold its titles from Amazon’s Kindle e-book platform until Amazon capitulated to the “agency model,” which it did; but only after Amazon threatened to withhold selling Macmillan’s physical books from the main Amazon site.
Now, a Seattle law firm has filed a class action suit in a California U.S. District Court. The suit alleges the five publishing giants and Apple have conspired to drive up e-book prices. The law firm names two individual consumers, in California and Mississippi, as the case’s official plaintiffs.
With all this going on, William Skidelsky at the Guardian asks what’s the “true price” of a book as a written and edited document, rather than as a physical object.
Skidelsky quotes ex-Billboard editor Robert Levine, who’s written a forthcoming tract entitled Free Ride: How Digital Parasites are Destroying the Culture Business, and How the Culture Business Can Fight Back. Levine, as you’d guess, takes the side of the intellectual-property industry, including the book publishers.
Levine (as quoted by Skidelsky) states that it only costs $3.50 to “print and distribute” a hardcover book.
Thus, the argument goes, e-books should be just that much cheaper than physical books, no more.
However, it’s not that simple.
First of all, the whole pricing structure of physical books is about the design, manufacture, shipping, warehousing, and retailing of the object; including big margins to the retailers and wholesalers (who still sometimes have trouble keeping afloat). When all that’s reduced to the storage of some megabytes on a server, that whole pricing model goes away.
And much of the publisher’s share of a book’s price includes an allowance for the industry’s tremendous physical waste. If a copy shipped to a bookstore doesn’t sell, it gets sent back. All those copies are either re-shipped at clearance prices (more likely for coffee-table picture books) or destroyed. With e-books, none of that happens.
You will note that, aside from Levine, we haven’t mentioned authors.
What would an e-book pricing structure look like if it were based on the people who actually make what’s being bought?
Take the current royalties for a book’s authors and illustrators.
Then at least double them.
Not only do the creators deserve it, but such a step would acknowledge that, since e-books are cheaper to get out, there will be more titles out there scrambling for readers’ bucks, and hence each individual title might not sell as much.
Then add in a budget item for the work-for-hire participants in a book’s making—the editors and designers and cover artists and licensors of agency photographs. Again, they’d be higher than for traditional paper books, to make up for lower expected total sales.
There’s still a role in the e-book realm for what we call “publishers.” They put up the money. They arrange promotion and advertising. They put authors, artists, and editors together. In many cases, they organize the transmutation of a vague idea into a saleable product.
Once these parties all have their pieces of the pie set into a fixed wholesale price, e-book sellers could charge as much or as little as they think they can get away with.
That’s one potential e-book pricing model. There are others.
One is that of Take Control Books, for which I’ve worked in the past. They sell their e-books directly on their own site. Half the retail take, minus a cut for the company’s e-commerce provider, goes directly to the authors. (Take Control sells its e-books as .pdf files, which can be transferred with greater or lesser ease to all e-book reading devices.)
Another is self publishing, that past and present refuge of the artiste with no perceived commercial potential. Only in the e-book age, some authors are actually succeeding this way.
Earlier this year, bestselling thriller writer Barry Eisler said he was walking out of his “handshake deal” with St. Martin’s Press. For the time being, all books written by Eisler will be published by Eisler.
Of course, Eisler has an established “brand” for his works; much like Radiohead had when they released a download-only album. And Eisler has experience in the Silicon Valley startup world.
A more realistic role model would be that of Amanda Hocking. She’s young. She’s photogenic. She writes in a popular commercial-fiction genre. She’s sold a million e-books without a corporate backer (she’s got one now, though).
The business side of book publishing, as I’ve carped here for years, has been a moribund, tradition-obsessed infrastructure of waste and lost opportunity.
E-books represent the biggest chance in decades (since the rise of the big-book bookstore chains) to fix this.
Let’s not blow it.
(Thanx and a hat tip to Michael Jacobs for suggesting added angles to this story.)
2005 fremont solstice parade goers at the lenin statue
Boredom should not be abused, exploited, ignored, sneered at, rejected or talked down to as a product of laziness or of an idle, uninventive and boring mind. It’s there to help, and its advice should be welcomed and acted upon.