The Social Life of Books

"I Don’t Want To Consume Media That I Can’t Interact With

That’s the bottom line. When I come into contact with media, I want to do something with it. Tag it, post it, reply to it, comment on it, favorite it, share it, gift it, quote it, whatever…

When are people going to understand that digital media, be it a book, a song, a film, an article, or whatever else, is not passive media. That was analog’s gig."
Venture Capitalist Fred Wilson reacting to the Amazon Kindle

When I was 6 the school playground was full of clusters of kids crowding round the lucky few who had been given digital watches with games on them. I asked my parents for such a watch for my birthday, but they didn’t quite ‘get it’ and I received a decidedly analogue Timex. My mother says she realized her mistake when I unwrapped the watch and with a cry of anguish, demanded "But what does it do?".

All of which is a roundabout way of saying the Amazon Kindle, which was launched with a great deal of media hoopla last week does lots of things, and doesn’t do others, and perhaps we should be asking ourselves what we want books to do and be as we hurtle towards a near-future where all media and all content consists of ones and zeros.

I haven’t seen or played with a Kindle yet, but there is plenty of online coverage to be found here, here and elsewhere and it has certainly brought ebooks into the mainstream like nothing before. Undoubtedly theBookindle
Kindle, and particularly it’s wireless delivery system, is a revolutionary way of putting books in the hands of readers. But, I wonder, is that enough?

It’s quite instructive to read some of the comments in the Fred Wilson post above, and also comments on uberblogger Robert Scoble’s anti-Kindle rant – clearly there is much debate over whether books have to be social objects. This debate occasionally surfaces here at Penguin Towers where the book lovers among us (and there are one or two) argue the point that to immerse oneself in a book is to isolate oneself from interactivity – books should not necessarily be a shared experience, they say, and there is interaction between reader and text.

Almost lost in the noise about the Kindle was the release of a lengthy report from the National Endowment for the Arts entitled To Read or Not to Read. The conclusions are sobering for anyone in the book business. Basically, Americans are reading less and this is especially true of teens and young adults ‘who are reading less often and for shorter amounts of time than other age groups and Americans of previous years’. Now I am not about to claim that this is solely because of Youtube, Xbox and Myspace and other forms of interactive digital media. But perhaps we publishers and book lovers do need to think about whether books need a social life and work out how to satisfy those who want simply to disappear into a story and those who won’t consume media that they can’t interact with.

 

Jeremy Ettinghausen, Digital Publisher

PS I know what I want out of an ebook reader – a vast library, accessible anytime from anywhere, a decent screen and the ability to share my discoveries with others and see what my friends are also discovering. Internet access would be pretty necessary, and one of those neat touch screens like the iPhone has. I pretty much want it all, and I actually think we’re nearly there (maybe not for this Christmas though). But what do you want from an ebook reader? And, in fact, do you want an ebook reader at all? Leave your comments below…

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Back to Skool

St_triniansSt Trinian’s began life as a single cartoon drawn by Searle, aged 21, for the magazine Lilliput in 1941. He was then swept up in a particularly horrible way by the Second World War, captured by the Japanese and sent first to Changi gaol and then to work on the building of the Burma-Thailand railway, the ‘Death Railway’. He made secret drawings of life in the camps which were eventually published in To The Kwai and Back.

Searle was released at the end of the war, after three and a half years of captivity, returned to London and became an incredibly prolific and funny artist. He became famous first for the St Trinian’s series (I have happy memories of repeatedly reading my parents’ copy of his St Trinian’s collection Back to the Slaughterhouse) and then for the miraculous Molesworth books, with texts written by Geoffrey Willans: Down with Skool!: A Guide to School Life for Tiny Pupils and Their Parents, How to be Topp, Whizz for Atomms and Back in the Jug Agane. I’m sure that while running Penguin Modern Classics I have published several more intellectually coherent and searingly powerful works, but getting these books back into print (as a one-volume complete Molesworth) was by miles the most enjoyable thing I did.

The films based on the world Searle created in the St Trinian’s cartoons began in 1954 with The Belles of St Trinian’s with Alastair Sim in the drag role of the headmistress (now taken by Rupert Everett in the new film). The rest of the cast was a chaotic mass of British comic actors – Sid James, George Cole, Irene Handl, Joyce Grenfell and so on – and while it has dated in some ways it maintains a lunatic idiocy that makes it still very funny. There were three sequels which can be less whole-heartedly recommended.

Molesworth_2In Penguin Modern Classics, aside from Molesworth, we have a selection of Searle’s best cartoons from the 1950s called The Terror of St Trinian’s and Other Drawings, including all of his hilarious updates on Hogarth’s The Rake’s Progress, remodelled for 1950s Britain with actors, clergymen, critics and painters mercilessly ridiculed.

Now to celebrate the new film we have put together all of Searle’s St Trinian’s drawings, some not seen for many years, into a single volume just called St Trinian’s.

Searle is a total hero. He has made life for very many people much more enjoyable for sixty years and the new film is a great opportunity to celebrate a strange, unique figure. He is still painting and drawing, living in France (where he moved in the early 1960s), now aged 87. This Christmas it would be actively dysfunctional not to give your friends copies of the new Penguin St Trinian’s.

Simon Winder – Publishing Director, Penguin Press

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The story – unlike the hero – lives to fight another day

Monster
And so it was with curiosity and not a little apprehension that I settled myself in my seat in Vue West End in Leicester Square at the weekend with a pair of 3D glasses plonked on my conk awaiting the screening of Robert Zemeckis’s Beowulf (or Biowolf as one of my semi-literate friends has taken to spelling it). The audience were clearly up for a bit of a ruck since the disorderly queue/push-in once the doors were open led to a vigorous altercation between two grown-up men that left everyone – including accompanying teenage daughter and partner – staring at the floor in horror. These days, no one wants to be seen out with a have-a-go hero.

The film itself – after this testosteronic build up – was largely disappointing for many of the reasons cited in reviews you may have read: the CGI motion capture stuff is pretty awful to watch, being neither a convincing facsimile of life nor cartoonish enough to engage the eye and the heart (actors aren’t mere mannequins upon which one may dress characters); the words wooden and plastic spring to mind and despite Ray ‘I will kill your monstah!’ Winston’s shouting and Angelina Jolie’s pouting, I’ve seen more raw emotion in an episode of Trumpton. The dialogue was also flat, though I wonder if this is perhaps a fault not unrelated to the lifelessness of the characters; and the action neither thrilling nor inventively conceived or directed. On the positive side, certain sequences were shiversome and the backgrounds were good eye candy. Oh and, if you wanted to know, 3D palls somewhat after about ten minutes.

The reviews I’ve seen have attacked the film for these faults and then heaped on some more: namely, how dare the film makers retell Beowulf the Hollywood way. Ed Sturton on the Today programme, which had sent a pair of academics to see it, proceeded to put words in their mouths when they were ‘too polite’ to say that they ‘hated it’.

However, this is all to miss the most interesting aspect of the film: which is the story. Beowulf is a tale from the time when, for most people, heroes, monsters and gods didn’t just live in the imagination; you might never have seen any, but such things, you were told, existed all the same. Beowulf draws deeply from myth: it is a story of heroes, dragons and monsters. This is where the scriptwriters – Neil Gaiman and Roger Avary – have scored. They have stuck to the story pretty closely – or at least to those bits when Beowulf isn’t telling us how it happened. So superficially we are shown Beowulf the hero, Grendel the monster and the fire-breathing, village-despoiling dragon.

But in Gaiman and Avary’s telling these become something more than mythical figures: they are also men. Beowulf is a lucky braggart. Grendel is a wounded, tormented soul. The dragon is a raging, vulnerable mother’s boy. The heroes are both strong and weak; the monsters childish and
misunderstood; queens, maidens and demonic mothers see the truth men hide in their hearts. The story starts with men and ends with men and in between man begets monster and monster begets man. Gaiman and Avary tell us that men want to be heroes and so they write the monsters into their own lives to make themselves heroic.

Seamus Heaney made a stab at Beowulf a few years back. He won the Whitbread and everyone I’ve met loves his translation. I can’t stand it. I like Heaney’s poetry – his several cantos of Dante’s Inferno in Seeing Things are dramatic, evocative and brilliantly alive. Yet I find his Beowulf flat and unengaging (he has written how he strove for academic accuracy throughout). I much prefer my battered early edition of this that I read many years ago. It gave Beowulf life and excitement. I’m not saying that Zemeckis’s Beowulf is better than Heaney’s – each, I think, is very flawed. But I do see the point of Zemeckis’s film. The story has been retold. Heaney brought nothing new to Beowulf, to my mind he even left himself out in his attempt to be faithful to the original. In doing so, his story – like the CGI motion capture that erases actors – became flat and lifeless.

All of which is to say why something like Christopher Logue’s retelling of the Illiad is fascinating and compelling. And why I am very much looking forward to Peter Ackroyd’s own Canterbury Tales, coming next year in Penguin Classics (the first few thousand words of which have just been delivered). Zemeckis’s Beowulf may be an ugly monster, but it tries to engage with an audience that doesn’t trust heroes – in other words a world that is modern.

Stories aren’t set in stone. They were told orally in the first days and at present we put them on paper or up on screens. They are retold and they are adapted. They evolve. That is how they survive.

Colin Brush, Senior Copywriter

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Home at last

Strand_stationWonderful, wonderful, oh most wonderful… Cafe Penguin is no more, and we have finally returned home to the open arms of Penguin Towers, on the lovely, lovely Strand. Lots of pre-moving anxiety (constructive comments ranging from "People will pity how awful our desks are" to "There’s no natural light! We’ll become Morlocks!" have, of course, turned out to be utterly unfounded) became joy at returning to somewhere that actually had running water. No more shoes sticking to the pavement of Brick Lane on a Monday morning, no more lack of access to banks, post offices, key cutters, shoe menders, pharmacies, dry-cleaners and our Penguin canteen, no more cut cables, random fire alarms, extreme temperatures and the World’s Most Awful Lifts… Instead, we are in the glittering new offices, hand-crafted by tiny literary robots to suit our every whim. We’ve only been here four hours (who doesn’t enjoy a late start on a Monday morning?) and already our computers work, our phones dial out, and our files have somewhere to live. I feel a little bit like weeping for joy, so I might just ride up and down in our lifts for a little while to celebrate.

Sam the Copywriter

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Books by the Greats, Blogged by You

Reluctant as we are to admit it, most people have never heard of some of the best books ever written. And the ones they have read, they either love or hate.  This summer, we at Penguin Classics wanted to get more people reading and arguing about our books, which is why we launched Blog-a-Penguin-Classic.co.uk

It’s now been almost three months since we launched the blog, and it’s getting bigger and better every day. And you can’t call me biased, because the site’s already been listed under ‘things we love’ in Campaign magazine. When we offered one free copy of each book to the first people to put their hands up, all 1,500 were all gone in less than 48 hours, and when we offered the first twenty to Penguin newsletter subscribers, we got over 1,000 pleading emails from across the world.

The beauty of the blog is that it works completely at random – from which review gets published to which book you get in the post. It means that people are being asked to read and review books they might never have picked up, which certainly makes for some interesting reading. When one blogger got Much Ado About Nothing through his door, he made no bones about telling everyone how unimpressed he was; there was outcry from some, while others thanked him for his honesty. Indeed, bloggers love the fact that the site is so honest and the reviews so genuine – it’s a constant reminder that the site is for the readers by the readers, not the publishers.

Check out the site and tell us what you think about any of the titles that have been blogged about already. Someone’s bound to disagree.

Natalie Ramm, Marketing Manager, The Penguin Press

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Thanks for the add!

So last week Facebook announced new models of advertising, including allowing brands and products to create Facebook pages. In the past, one had to be a real person to create a facebook account, but now the spectre of monolithic corporate presence looms large over the booming social networking site.

Pengface_2
Penguin (never backward when coming forward) has today become, we believe*, the first publisher to take advantage of Facebook’s largesse and we’ve created our own product page which you can find here. We’re now busy adding pictures, videos and all sorts of other gubbins to the page to create what we hope will be an interesting, engaging and regularly updated destination for our new fans (brands and companies have fans, not friends, which makes sense really). Let us know what we could put on our page to make it more interesting, either by writing on our wall, or by getting in touch via the comments on this blog, though our myspace page, by IMing our second life avatar, on the podcast, through the website or, if you must, with terribly old fashioned phone, fax, email or snailmail. Phew.

When news of our facebook page rippled through the office reaction was mixed, ranging from total disinterest, (very) mild excitement to deep mistrust. The last response came from our most enthusiastic facebookers who feel that a company has no place muscling in on a social networking site. Facebook is a place where friends can hang with friends, tag each other in photos and catch up on news of bawdy nights out (rest assured, you will not see pictures of Penguin, passed out in a shopping trolley after one too many Moscow Mules). I was reminded from a passage from All Tomorrow’s Parties where William Gibson disects the disappearance of geographic bohemias:

"Bohemias. Alternative subcultures. They were a crucial aspect of industrial civilization in the two previous centuries. They were where industrial civilization went to dream. A sort of unconscious R&D, exploring alternate societal strategies … But they became extinct.”
“Extinct?”
“We started picking them before they could ripen. A certain crucial growing period was lost, as marketing evolved and the mechanisms of recommodification became quicker, more rapacious. Authentic subcultures required backwaters, and time, and there are no more backwaters. They went the way of geography in general…"

So, sorry if we are treading on your toes. We honestly won’t get in your way and, after all, you don’t have to be our friend, or our fan, or our follower or part of our gang. But, if you want to stay in touch, we hope to make it as easy as possible for you to find us, and connect with us, our authors and their books and other readers.

Jeremy Ettinghausen
Digital Publisher

*see comment below – not the first, or, we’re sure the last

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The Child that Books Built

Nancydrewbookcover They’ve made a film of Nancy Drew and I’m mildly indignant. Call me bookish (it’s in the job description) but I’m a bit cynical when it comes to books I love(d) being turned into great big motion pictures. Of course, I have exceptions to my own rule, The Shawshank Redemption, The Remains of the Day, Chitty Chitty Bang Bang to name a few. But don’t get me started on Captain Corelli’s Mandolin. There’s a case in point.

MatildacoverMalorybookcoverNancy Drew is special to me because she was mystery and adventure when I was all of ten years old. Before starting at Puffin HQ, I clambered into my parents loft to hunt down and blow the dust off my hardback Matilda, The Sheep-Pig, The Chronicles of Narnia, The BFG, First Term at Malory Towers, Alice in Wonderland and yes (she says in a whisper) Forever. I was off to work in children’s books and I wanted a few of my beloveds with me. Tiny doodles and all (sacrilege I know), but I’d forgotten how much I truly did heart A.B. It was sweet to remember.

Childbooksbuilt My point? I do have one. The Child that Books Built is a memoir of childhood and reading by Francis Spufford, which I discovered whilst waist high in dissertation research five years ago. I just love the concept. I spent some time pondering the books that built me and to what extent they affect (effect? I never could) me now. I can’t begin to explain the happiness I experienced when, this September, The BFG with my blurb hit the bookshops. But that’s the privilege of doing what I do.

Books from childhood are part of you – spend a few moments recalling the books which delighted and fascinated you as a child and see if it doesn’t make you smile.

As for the ND film, I’ll watch it but I think my mind is made up. My Nancy Drew has titian hair and freckles. This young lady (charming though she no doubt is), has not.

Sarah Kettle, Puffin Copywriter

Sell, sell, sell

Bravia Bill Hicks made it fairly clear how easy it will be for us Marketing folk to enter into the kingdom of heaven, but to misquote another couple of humorous gents, there’s some advertising that doesn’t so much Fall as Saunter Vaguely Downwards.

Honda seem to be pretty good at what they do, here, here and here, Sony have also done some lovely stuff recently, here, here and here, and to give you a final trilogy, Orange don’t do too badly either, here, here and here. Cadbury’s caused a lovely bubble of chat with this ad (and some strongly worded emails between members of my family), and H&M have created this year’s Heat-sponsored Advert of Guilty Pleasure, with Tesco (typed with gritted teeth) taking the runner-up place.

Of course, the bad old days of marketing remain; I noticed at the sides of my local swimming pool ads for Bratz DVDs, which forced me to duck my head under water to hide the tears. As a grown-up, I’m fully aware of all the things that advertising, however repugnant, allows – if it weren’t for those Bratz posters, my local pool may well be my local Tesco – but when you see how well some folk do it, it makes you wonder why everyone doesn’t. Or maybe it makes you feel the opposite. Volkswagen’s current oddly phrased ad (about buying a VW "even though it’s second, or even third hand") makes my temperature rise, as does Lloyds TSB’s "Wouldn’t it be nice" press ads (although that’s mainly because they keep cancelling and losing my cards, apparently at random, and their customer service has been second-to-most).

Some ads seem to have a beautiful idea behind them, but very little to do with the product; some ads seem to have the same idea at the same time as everyone else (did anyone else notice in the last 12 months, John West, Fish4 and Bacardi all had ads featuring men dressed as fish running a marathon?); and some ads serve no purpose at all (why use the world’s most famous supermodel to advertise making yourself look better with paints and potions, and why advertise TVs on TV – either it looks rubbish so you don’t want a new one, or it looks great so you don’t need one; plus, not one of us could name the product for any ads for TVs bar the Bravia ads). Some are just horrible; some gets tonnes of publicity while still seeming a little derivative. Some ads make the world seem a better place.

Penguin has dabbled in both cinema and television advertising, with some nice plaudits (and some criticisms) for each. We try to do new things, here and here, to entertain readers as much as anything else – and after all, it’s books we’re pushing, lovely books, not oil, drugs or cigarettes. Do you care about another newspaper ad, however clever the line? Would you like to be told about new titles? If so, how? And if not – what are you doing on the Penguin blog?

Sam the Copywriter

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Bookshops on ice

Untitled1_2
I was at a music festival in Iceland a few weeks ago which was great fun; cracking music, friendly people, the weather wasn’t too bad (considering – I mean, it was still freezing, just no snow-storms) and I met a charming author for lunch (it’s exciting to be sharing a pizza with a celebrity and he really is – it felt as though the whole of Reykjavik was watching me dribble mozzarella onto my lap). My favourite part of the trip though, was the hours I spent wandering around the many, many bookshops on the Bankastraeti, drinking coffee, watching bands perform on staircases (me, not them – the drums would probably have been problematic) and picking up unfamiliarly jacketed (usually US) versions of books that I know well.

The exciting thing about the bookshops of Reykjavik was the noise and buzz about them – none of the hallowed library atmosphere that we often find on the UK high street. These stores were packed and vibrant; one had a sushi bar in the middle of the biography section, another a knitting cooperative merrily clacking their needles away amongst the recipes. All had huge kids sections with toys and reading copies and space for children to spend time enjoying the experience. There were samplers everywhere – the ‘try before you buy’ philosophy clearly central to the Icelandic consumer mentality and Icelanders were shouting across the store to one another, calling out good finds and asking the room in general if anyone had read the new John Grisham and was it any good?

Is there something about coming in from the cold, red-cheeked and snug in layers that make jolliness compulsory? I’m not sure if it was the cup of steaming hot chocolate I had my hand permanently clamped around, all the cheerful bobble hats or the multiple displays of Jamie at Home, but I had more fun in IDA  than watching The Magic Numbers …

Anna Rafferty, Digital Marketing Director

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Publishing Petite

Petite_anglaise If you’ve ever wondered what really goes on in those glamorous publisher get-togethers, read today’s Petite Anglaise blog. In order to discuss her new book with us (out next year), author Catherine Sanderson, the publicist, the Waterstones’ buyer and yours truly took afternoon tea and had a (not very) literary discussion. Over the next few months, the Petite Anglaise blog will be following Catherine’s experience of being published by Penguin, so take a look if you want a window on the process from the other side.

Confession: I only got into publishing for the scones…

Fiona Buckland, Penguin Press Sales Manager

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