Forthcoming book untangles relationship between writing and computers

What’s the relationship between writers, their writing, and word processors? That’s what Matthew Kirschenbaum has set out to explore in his book Track Changes: A Literary History of Word Processing, forthcoming from Harvard University Press in 2013.

Kirschenbaum, an associate professor of English at the University of Maryland, marries his passions for literature and computer science in his work, which looks at authors who adopted word-processing technologies in the late 1970s and early ’80s, how the new composition process affected their writing, and how current technologies such as social media are again changing the way (and the what) authors write.

In a recent episode of CBC Radio’s Spark, Nora Young interviewed Kirschenbaum, who discusses his early findings, plus some interesting tidbits about the history of digital submissions in publishing, the origin of spell check, and the barriers to his research (hint: floppy disks). The segment also includes an interview with Susan Swan in which she talks about transitioning between writing longhand and typing, and why she still uses a dictaphone.

On his blog, Kirschenbaum has put out a call for literary writers who were early adopters of word processing, authors who have refused to transition to computers, publishing professionals who have insight on the topic, and “anyone who knows of interesting fictional renditions of computers and word processing.”

CLA kicks off Canadian Library Month

The Canadian Library Association kicked off Canadian Library Month on Tuesday. Throughout the month of October, libraries across the country will host events to raise awareness about the importance of libraries in the nation’s communities.

According to a press release from the CLA, the theme for 2011, Your Library: A Place Unbound, strengthens this message by pointing to libraries as hubs of information and personal connection in the midst of a quickly evolving world. “From coast to coast to coast, libraries are without boundaries, places of endless opportunity where Canadians have an equal right to access resources,” says CLA president Karen Adams in the media release.

Within the span of a few months, Canadian libraries have faced threats from municipal funding cuts, union strikes, devastating fires, and natural disasters — to name but a few challenges. It’s nice, then, to have some positive library-related news to report.

And in case a month of library celebrations isn’t uplifting enough, here’s a quick round up of other library-friendly news:

• The Nova Scotia Library Association names Tracey Jones-Grant winner of the 2011 Norman Horrocks Award for Library Leadership, and Rachel Crosby winner of the 2011 Emile Theriault Library and Information Technology Award for support staff
• Newfoundland and Labrador Public Libraries celebrates 75 years on Oct. 28
• Toronto Public Library’s Arthur Conan Doyle Room is getting a face lift
• Vancouver Public Library may have closed its Riley Park Branch last month, but Vancouver City Council has approved an increase in VPL funding for the brand new Terry Salman Branch

Happy Canadian Libraries Month!

In the September 2011 issue of Q&Q: Guy Vanderhaeghe completes his iconic Western trilogy

Q&Q speaks to Governor General’s Literary Award–winning Saskatoon author Guy Vanderhaeghe about the final book in his Western trilogy, the ambitious A Good Man.

Also in September, rekindling interest in history with high-profile political biographies, a look at independent U.S. bookstore e-book sales, and touring the country with Doug Gibson. Plus reviews of new books by Brian Francis, David Gilmour, Marina Endicott, and more.

FEATURES
A good guy
After nearly two decades, Guy Vanderhaeghe has completed his iconic Western trilogy – and now he’s ready to move on

Raising the dead white men
Can a handful of high-profile political biographies rekindle interest in Canadian history?

E-reading’s awkward embrace
If the experience of U.S. indies is anything to go by, Canadian booksellers gearing up to begin selling e-books should expect some bumps along the road

FRONTMATTER
Orphaned Key Porter authors take back control of their work
How digital technology has put audiobooks within reach of small presses
In memoriam: Robert Kroetsch
Montreal violin-maker Tom Wilder turns publisher
Snapshot: Knopf Random Canada executive vice-president and publisher Louise Dennys
Cover to cover: R.T. Naylor’s Crass Struggle
Touring the country with Doug Gibson
Guest opinion: Rolf Maurer on rethinking the role of the arts

REVIEWS
Natural Order by Brian Francis
The Perfect Order of Things by David Gilmour
The Little Shadows by Marina Endicott
Our Daily Bread by Lauren B. Davis
Eating Dirt by Charlotte Gill

PLUS more fiction, non-fiction, and poetry

BOOKS FOR YOUNG PEOPLE
Starfall by Diana Kolpak; Kathleen Finlay, photog.
No Ordinary Day by Deborah Ellis
First Descent by Pam Withers
The Busy Beaver by Nicholas Oldland
Once Every Never by Lesley Livingston

PLUS more fiction, non-fiction, and picture books

Q&Q/BOOKNET CANADA BESTSELLERS

THE LAST WORD
Greenpeace International’s Tzeporah Berman on finding a balance between her own voice and that of the organization she represents

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Publishing at the polls: federal parties respond to arts and culture questions

The Canadian Conference of the Arts sent leaders of the five federal parties a series of questions pertaining to arts and culture, and have posted the responses on its website. All of the parties responded, except for the Conservatives.

The answers are published without edits, and in a handy table format so you can compare responses. Of particular interest are questions pertaining to the Copyright Modernization Act:

Which elements of Bill C-32 will your party keep, and which elements of the bill will your party remove or change in a new bill to modernize the Copyright Act?

Bloc Québécois: The Bloc Québécois will ensure that the new bill is fair to both creators and consumers. This balance must be achieved, most notably through: an upgraded system for private copying, applying to Mp3 players and other digital music players; reasonable royalties to artists for redistribution of their works; the abolition of the education exemption and fair recognition of the resale rights of visual artists.

The Bloc Québécois is committed to fostering a regime requiring ISPs to pay royalties, which will go towards a fund to pay creators in Quebec who have been harmed due to the illegal downloading of artistic works.

Conservative Party:

Green Party: The Green Party of Canada strongly supports artists’ rights to guaranteed fair compensation through fair patent and copyright laws. At the same time, we consider the digital lock provision in Bill C-32 to be excessively restrictive in that it will not allow students and journalists to properly create and conduct research.

We will work with the CCA and other stakeholders to sharpen the definition of “educational uses” to find the right balance to give researchers this ability in a manner consistent with a thriving information commons, fair dealing principles, and moral rights.

Liberal Party: Recent studies have shown that Canada’s out-of-date Copyright Act translates into major economic loss (up to $965 million lost last year due to piracy, according to an Ipsos/Oxford economics study) for Canadian creators all across the country; the Liberal Party will thus start working on presenting a modernized copyright act as soon as we form government. Bill C-32, the latest Conservative attempt to modernize copyright, was unbalanced and unfair; a Liberal government will work with all stakeholders to ensure creators rights and their sources of revenues are protected under the Copyright Act.

Digital technology offers many new opportunities, but enjoying content without compensating its creators shouldn’t be among them. A new Liberal government will introduce technology neutral copyright legislation that balances the needs of creators and consumers and reflects the principle that our artists and musicians should be paid for their work. We will stand with Canadian creators as they navigate both the opportunities and challenges of the new digital society.

During the debate on copyright legislation in the last Parliament, it was the Liberal Party that developed a practical solution to providing musicians with compensation through a new private copying compensation fund rather than a levy. A Liberal government will look to develop similarly innovative solutions to ensure that the Copyright Act protects creators’ existing and future rights and revenue streams in a digital age. Likewise, the Liberal party believes that any exception under fair dealings must be clearly defined with a clear and strict test for fair use so that creators are fairly compensated for their work.

NDP: In reviewing Bill C-32, New Democrats would closely examine a number of key issues contained in the proposed legislation, including (but not limited to) ISP liability, Technological Protection Measures (TPMs, or so-called “digital locks”), statutory damages, private copying and reproduction for private purposes, broadcast mechanical licensing and fair dealing.

In order to arrive at an equilibrium between the interests of rights-holders and those of consumers, New Democrats would likely begin developing new copyright laws, beginning by consulting widely with stakeholder groups with the aim of creating a legislation that is – unlike C-32 – truly technology-neutral, balanced and flexible enough to ensure its adaptability to new platforms and technologies in the years to come. We would also determine definitively Canada’s obligations as a signatory to various international treaties governing copyright and intellectual property.

And when you’re done reading all the responses, reward yourself with a visit to vintagevoter.ca.

Awards presented to Shapcott, Walcott, and book apps

There’s been a flurry of book award activity over the past few days (take that, Academy Awards). The awards in this roundup range from the time-honoured and prestigious to the trendy and cutting edge.

Costa Book of the Year Award
Costa Book Awards named Jo Shapcott’s poetry collection Of Mutability (Faber & Faber) its Book of the Year. The U.K. award culls its shortlist from winners across five categories: first novel, novel, biography, poetry, and children’s book. The 2010 shortlist also featured Witness the Night, a first novel by Kishwar Desai; The Hand That First Held Mine, a novel by Maggie O’Farrel; The Hare with Amber Eyes, a memoir by Edmund de Waal; and Out of Shadows, a children’s book by first-time author Jason Wallace. Shapcott receives £25,000; the winner in each category receives £5,000.

T.S. Eliot Prize for Poetry
Also based out of the U.K., the Poetry Book Society awarded the T.S. Eliot Prize to Derek Walcott for White Egrets (Faber & Faber). Walcott, 81, is a Nobel laureate and currently serves as distinguished scholar in residence at the University of Alberta.

The £15,000 prize is given annually to the author of the best new poetry collection published in the U.K. or Ireland. Anne Stevenson, chair of the judging panel, described Walcott’s collection as a “moving, risk-taking and technically flawless book by a great poet.” Also included on the shortlist were Sam Willetts, Seamus Heaney, and Pascal Petit.

Publishing Innovation Awards
Digital Book World opened last night in New York City by handing out the first-ever Publishing Innovation Awards for e-books and apps. The winners are selected based on “their merits in the areas of origination, development, production, design, and marketing.”

The inaugural winners are:

Fiction:  DRACULA: The Official Stoker Family Edition (PadWorx Digital Media)
Non-fiction: Logos Bible Software (Logos Bible Software)
Children’s:  A Story Before Bed (Jackson Fish Market)
Reference:  Star Walk for iPad (Vito Technology)
Comics: Robot 13 (Robot Comics)

Aussie readers asked for input about future of publishing

Last week, the Internet behemoth Google launched its e-book sales site, Google eBooks, in the U.S. The e-book market is now crowded with offerings from Amazon, Kobo, Apple, and Sony, which in turn has spawned a cottage industry for articles about the future of reading and the future of publishing. Amid all this cacophony, it’s small wonder publishers have responded to the rapidly diversifying marketplace with a mixture of fear and confusion.

In Australia, a consortium called the Book Industry Strategy Group is directly petitioning readers about their reading habits, desires, and preferences as a way of gaining clearer insights into the way forward. Writing in the Sydney Morning Herald, Barry Jones, chair of the BISG, states that the group is “seeking ideas from all Australians on how to face the challenges of the digital age, and to turn them into opportunities.” Jones suggests that opportunities lie in the flexibility and ready availability of e-books as against their print counterparts:

Where Amazon and Apple have got it right is the immediacy of purchasing an eBook. Both the Kindle and the iPad come with wireless connectivity to the Amazon and Apple stores, respectively. In the case of the Kindle, if you have an Amazon account, the Kindle comes preconfigured with your details so you can buy a book at 3am if you so desire. New York Times technology writer Nick Bilton calls this Me Economics, which is really just instant gratification in book buying. But it beats late-night television.

And although Jones throws a bone to those of us who still enjoy reading printed books (which he refers to as “pBooks”), it is clear that the digital arena is where he and his group are most invested:

And what about people who like the smell of books or the feel of books, or the cover artwork, or who just want to scribble over the pages? No, these sorts of people will mix up their reading habits and buy both pBooks and eBooks.

Public libraries are starting to offer access to eBooks via downloads or by access, by borrowers, to subscriptions taken out by the library. We want to hear about these initiatives and your experiences with them.

School kids will agree that carrying an eReader with all their textbooks on it beats carrying a heavy school bag with all their textbooks in it. And textbooks form a large part of the book industry in Australia. Can we hear your thoughts?

The public can submit comments and suggestions to the BISG until Jan. 31, 2011. One hopes that they will be slightly more innovative and nuanced than the sort of shopworn analysis Jones allows himself above.

Daily book biz round-up: new Kindle reviewed; World Fantasy Award nominees unveiled; and more

Today’s book news:

• The New York Times reviews the new Kindle
• Beaten down by Random House, Andrew Wylie now in talks with Penguin
• World Fantasy Award shortlist unveiled
• BookNet Canada looks for speakers for next Technology Forum
• Keith Richards, Jay-Z to give “talks” at NY library

Copyright holders “greedy” say Woodlief, Curtis

In a July 9 Wall Street Journal article, Tony Woodlief argues that current practices for securing permission to reprint copyrighted material are too intricate and costly to survive. He cites his own experience writing a memoir and attempting to secure permission to use copyrighted material as chapter epigraphs:

When I asked to use a single line by songwriter Joe Henry, for example, his record label’s parent company demanded $150 for every 7,500 copies of my book. Assuming I sell enough books to earn back my modest advance, this amounts to roughly 1.5% of my earnings, all for quoting eight words from one of Mr. Henry’s songs.

Woodlief writes that the compromise between rewarding artists for creating original works and allowing the appreciation and dissemination of those works to be as easy and widely available as possible has been historically skewed too far in the former direction.

The copyright thicket is a growing frustration among writers and editors. One editor of a popular literary anthology (who asked to remain anonymous for fear of reprisals from publishers) confirmed that many publishers pursue illusory short-term profit at the expense of both profit and art. By demanding fees that most people won’t pay, they forsake free advertising for the artists they claim to protect. If restaurants behaved that way, not only would they deny you the right to take home leftovers to your dog, they’d try to charge you for smelling their food when you pass by.

It’s a clever analogy that has only one problem: it’s wrong. The proper analogy would involve someone walking into a restaurant, going up to the pass, taking some food off a plate, walking out and handing the food to a passerby on the street without paying for it, but charging the passerby a fee, which is then pocketed (Woodlief’s “modest advance” is surely combined with a royalty scale in his contract).

This minor inaccuracy, however, does not prevent Richard Curtis from picking up on Woodlief’s line of reasoning and extending it to encompass enhanced e-books that incorporate other media such as video and music:

What’s the problem?  For a recent webinar on the subject I stated it this way: “The challenge of clearing rights for enhanced e-books is so dauntingly complex that nothing less than an overhaul of the current antiquated system is necessary if enhanced e-books are not to die aborning.”

Curtis goes on to bemoan the process of tracking down permissions for copyrighted material, which he calls “extremely tedious,” as though the relative interest level of the task itself renders it untenable. He suggests that in the digital era, the battle over copyright “is intolerable and will simply have to stop.”

The rationale for this conclusion seems to be that traditional copyright protections make the production of enhanced e-books too complicated, meaning that only “auteurs” who produce, write, edit, direct, and score their own material will be able to create them. The faulty assumption here is that just because a particular technology (i.e. the ability to “mash up” videos, text, music, etc. to produce enhanced e-books) exists, everyone should be able to exploit it without restriction. This is the new digital fundamentalism, and it is deleterious to the notion that artists deserve to be adequately compensated for their artistic output.

It is, however, a notion that is becoming accepted if only through repetition. Jonathan Lethem (in “The Ecstasy of Influence”) and David Shields (in Reality Hunger) have both made the argument that artistic products should be freely available to be recombined, plagiarized, and enhanced as anyone sees fit. The ability to do this is made manifest by the digital tools that are now at our fingertips. Arguing that these digital tools are poisonous to the process of artistic creation is reductive, but so is the notion that the copyright battle currently underway “is intolerable.”

How e-books break poems

Poetry rarely makes the headlines, but an Associated Press story about the unsuitability of verse to the e-book form has been making the rounds. The story notes the dearth of major poets being published digitally.

Major poets not yet in e-form include Lawrence Ferlinghetti and Sylvia Plath, W.H. Auden and Robert Lowell, Langston Hughes and C.K. Williams. No e-editions of poetry are available from this year’s Pulitzer Prize winner, Rae Armantrout; from Pulitzer winner and incoming U.S. poet laureate W.S. Merwin; or from such recent laureates as Charles Simic, Robert Pinsky and Louise Glueck.

While the assertion that poetry is “so far the least adaptable [literary form] to the growing e-book market” may be overstated (surely, illustrated children’s books have proven even more difficult), it is certainly the case that the design and formatting issues that afflict e-books are more pronounced in verse, often distorting a poem beyond recognition. Former U.S. poet laureate Billy Collins puts it this way:

The critical difference between prose and poetry is that prose is kind of like water and will become the shape of any vessel you pour it into to. Poetry is like a piece of sculpture and can easily break.

The bad news is that the problem seems intractable, at least for now:

A leading developer of e-reading technology, eBook Technologies, is working on improving the formatting for poetry, although no major breakthroughs are expected before 2011. Company president Garth Conboy said that for now the most realistic options are either to keep a long line intact by scrolling horizontally across the screen — “A really bad experience,” he says — or to find a way to “better communicate” to readers that a line broken in two was meant to be a single line.

“Neither are perfect solutions,” he said. “I’m not sure what the perfect solution is.”

Regina’s Book and Briar Patch to close

John Cress, owner of Regina’s largest independent bookstore, the 33-year-old Book and Briar Patch, announced this week that he’ll be closing shop on July 31. The store is part of a growing list of Canadian indies pulling the plug.

In an interview with the Regina Leader-Post, Cress blamed the store’s demise on big-box chains and the growing popularity of e-books – technology he didn’t  believe would be a threat until recently. Sounding rather defeated, he said:

Any bookseller that thinks there is a hope is dreaming. I watch a lot of trends and things are going to get really tough… If we signed another five-year lease, I’d say we’d have one year left.

[…]

There’s so much competition for the reader’s time with Facebook, YouTube, cellphones and computers. They can text, they can play games, watch movies — and that means a steady drop in readers.