Chewing the bookfat
In its recent story about the demise of the Micawber bookstore in Princeton, the NYTimes quotes owner Logan Fox to the effect that "he can't quite pinpoint the moment when movies and television shows replaced books as the cultural topics people liked to talk about over dinner, at cocktail parties, at work. He does know that at Micawber Books, his 26-year-old independent bookstore here that is to close for good in March, his own employees prefer to come in every morning and gossip about "Survivor" or "that fashion reality show" whose title he can't quite place."
Actually, books have rarely been a topic of conversation in offices or parties -- unless it's among a select group of people who just happen to be avid readers and who happen to have read the book under discussion or at least read reviews of it or perhaps an interview with the author or perhaps even just an earlier work by her. If you think about that, you realize how small or rare such a happenstance would be. If you're already hammering away at your keyboard to tell me how wrong I am, how you enjoy such casual bookchat everyday at work, you must realize how fortunate/educated/isolated you are. It's a chief reason people join bookclubs or attend literary series in the first place: They don't have enough ordinary literary discussion in their lives, so they have to organize some.
No, this isn't another diatribe about rampant illiteracy, the decline of books in our culture vs. the rise of the no-attention-span internet or the graphic zap of computer games. Books and bookchat have always been like this for a simple reason: It's extremely rare that any book achieves the kind of near-instantaneous cultural penetration that a movie or TV show or sports spectacular does -- only a new Harry Potter or Bill Clinton's memoir gets that kind of saturated exposure, and it requires that kind of everyone's-heard-about-it impact to spark casual conversation.
Instant cultural saturation occurs partly because of the economics and mass-media distrubution systems that favor TV, movies and the internet. It's hard to compete for people's attention against a billion-dollar conglomerate like Sony when it has gambled several hundred million on a new film, and all you've got it is a good memoir and a few bookstore readings lined up. Sony must achieve that sense of it's everywhere! it's everywhere! with all the TV ads, fastfood tie-ins and talkshow interviews in order for their investment to pay off. The entire onslaught is designed to make their film or DVD release an undeniable cultural presence, something people feel they have to know about because it's self-evidently important: There's an action figure with the show's name on it at every Wal-Mart and Taco Bell.
But this unfair advantage has existed for decades, long before Sony and the development of the blockbuster opening weekend, because of the nature of books and publishing. Books take time -- time to read, time to disperse, time to find their audience. Let's say 15 thousand people will buy and read a hardcover when it comes out. If it gets great press and word of mouth, maybe 20-50 thousand more will wait until it comes out in paperback -- next year. Or they'll wait until it's available at their library. Or until they can borrow a copy from a friend.
All of this makes for an extremely diffuse "opening." The same is true of live performing arts -- theater or dance -- or museum exhibitions. And this has been the case for at least as long as modern publishing and touring have existed. For books, limited access plus long-term aesthetic experience = slow public impact. My friend John Habich, fine arts editor at Newsday, first explained to me this now-rather obvious phenomenon. It's why he helped create Talking Volumes when he was at the Minneapolis Star Tribune. Talking Volumes is a joint venture among the Star Tribune, Minnesota Public Radio and the Loft Literary Center. An author is chosen and comes to town for several days or a week. The newspaper plans a major profile, Minnesota Public Radio has an on-air chat, there are bookstore readings, library visits, etc -- all in that same window of time, giving the author and his book the kind of community exposure that only a new big-budget film or hit TV series generally gets.
Book publicists wish this kind of coordinated attention would happen any time an author comes to a major city, but it rarely does and never for this kind of extended period of time, a whole weekend or even a week. Newspapers, TV and radio stations are bombarded by every cookbook and self-help author around, who often have their own PR flaks cluttering up the voicemail, in addition to the book publicist's own efforts, so it's all much more sporadic and piecemeal, rarely this thoughtful, this multi-layered. It's difficult for many TV and radio people even to make the choice, that this author deserves attention amidst all the swarm. There will be another swarm the next day and the next, and who knows enough about books and authors and publishing, who has the judgment to make that decision -- this is worth two minutes' on-air time because it'll prompt people to talk about it for days around the water cooler at work?
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