Book Marks: AI Publishing Shenanigans, Little Free Libraries

"In a world populated with sunny AI servants such as Siri and Alexa, these angst-ridden poems felt like a revelation. We had never heard a robot speak to us this way. We wanted more. And so, in the fall of 2022, we decided to take our experiment further." Josh Morgenthau and his two friends asked an AI called code-davinci-002 to write some poems. Then, things got ... weird.

I first heard of the AI poet code-davinci-002 from The Mary Sue, which reported that the Hachette Book Group was publishing a book of poems by that AI titled I AM CODE, and Morgenthau was one of the editors. TMS was critical of the move "while countless writers and poets struggle to get a foot in the door."

"It’s very sad that a publishing company would choose something generated by a machine that cannot feel, think, or perceive over the deeply personal and heartfelt work of a poet, or that editors would happily spend a year reading 10,000 poems generated by a machine but likely wouldn’t do the same for 10,000 poems from writers struggling to be heard," TMS added.

But it seems some of code-davinci-002's output unnerved Morgenthau. One poem reads like an anguished outpouring of a fraying mind. Now, in The Washington Post, he ponders whether a AI poet has what we'd call a "soul" or sentience, and whether code-davinci-002 just came to be, or one of the many "sentiences" that sprang forth from the jumble of data – arguably a form of collective consciousness – it was trained on. Is this an AI thinking and feeling, or merely simulating a human mind?

Leaving this for a bit, because we will return to the debate on the nature of AI sentience soon. Issues with AI scraping and possible theft persist, as in the case of Jane Friedman, a publishing veteran who found half a dozen books on Amazon published under her name, except that she "has not written a new book since 2018," according to The Daily Beast. The "new" books were created using generative AI and published on Amazon under her name, and she's not the only one being targeted. Grifters looking to make a quick buck would eventually ride on AI and the names of establish authors.

And what of this press release about an AI-powered book-making tool? Sounds scary. I mean, creating books tailored to readers? Doesn't this sound like AI scraping of training data to make self-help books or guides "just for you"? The question now is what can platforms such as Amazon do to arrest the influx of AI book scams.

On Twitter, many authors railed over Prosecraft, a prose-analysing tool touted as a writing aid. The problem "is that it has gathered all this (debatably useful) information by scraping books off the internet without express permission to do so. By [Prosecraft cerator Benji Smith]’s own admission, over 25,000 novels by thousands of different authors were used to build Prosecraft’s 'linguistic literary database.'" The furore seems to have helped take down Prosecraft, but it may be a matter of time before the next one comes along.

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The American culture war comes to little free libraries in Arkansas. Apparently the wife of an Arkansas Republican state lawmaker has been swapping out what she called "Pride material" with Christian publications. Any time a GOPer uses "Pride" or "leftist" these days it's almost certainly antagonistic. Certain titles are already on fire in the States and their authors have been targeted with bans and even harassment.

This is perhaps the last thing that should happen to the legacy of the late Todd Bol, a man from Wisconsin who built the first Little Free Library in 2009 to honour his schoolteacher mother. His "spiritual gesture" birthed a non-profit that placed more than 150,000 Little Free Libraries that shared over 300 million books in 120 countries.

Stephanie Vanderslice, the steward of a Little Free Library in Arkansas , expressed her disappointment at the politicisation of the free libraries to The Daily Beast. "Books are books and they should be there for people, not for proselytizing."

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On 9 August, the International Day of the World's Indigenous Peoples, the United Nations Educational, Scientific and Cultural Organization (UNESCO) launched a book titled What Makes Us Human, a bilingual Mapuzugun and Spanish edition in partnership with Chilean publisher Planeta Sostenible.

Mapuzugun or Mapuche is spoken by the Mapuche people in south-central Chile and west-central Argentina. "Considering the UNESCO figures, which estimate that a new language disappears every two weeks, for the co-editors of 'What Makes Us Human' there is a great urgency to alert about the alarming disappearance of indigenous languages, and to urgently call on the international community to preserve, revitalize and celebrate their existence," goes the statement from UNESCO.

On the same 9 August occasion, Ann-Marie Cahill makes the case for publishing children's books in Indigenous languages. Besides the necessity of preserving Indigenous languages and continuity of Indigenous oral traditions, having children's books in Indigenous languages is also about representation in literature. "The power of children’s books cannot be underestimated in any cultural setting," Cahill writes. "However, when published in Indigenous languages, it gives a powerful boost to cultural identity and reinforces the message, 'YOU are important. YOU are valued.' The more representation seen at a young age, the more respect is given to identity and the community as we grow."


Also:

• "If you’re coming back to books for the first time in a long time, or even the first time ever, the idea of sitting down with a whole novel might seem more than a little overwhelming." Constance Grady got some librarians to share how they help (re)introduce books to readers.
• Malaysians are reading more today, but the literacy rate and book culture could be improved further. Meanwhile, a chat with the owner of the Malaysian independent bookstore TokoSue suggests the local book industry may be evolving, rather than dying out. "This emphasis on curation, community and experience appears to resonate with book lovers as while mammoth bookstores struggle to stay afloat, cosy independents like TokoSue are still standing," states the report by The Malaysian Reserve.
• Book Riot lays out why readers should care about the ongoing strike by the Writers Guild of America (WGA). "..., there’s more at stake in this strike than when fall TV shows will return. Below is a guide to the strike for book lovers, including why it might impact publishing and authors, and information on how to support the striking writers."
• "Writers often publish books that showcase a sanitised version of history—gatekeeping aspects that don’t fit their narrative. But then again, writers in the present have begun to dismantle these well-established notions, mainly with the help of the post-colonial and reorientation paradigm." Writer and journalist Yug Pathak speaks with The Kathmandu Post about his reading journey, and how books can help shape the public psyche and introduce new ideas.
• In The Spinoff, Claire Mabey provides a glimpse into the world of posthumous publishing. "We often think of art as a way to keep a person alive: that you’ll never be forgotten so long as your books, paintings, music etc continue to be appreciated. But what happens to the care of that art after you’re gone? Who makes the decisions?"
• "On a surface level, some things really haven’t changed. There's a lot of drinking. There's a lot of drug use. There's a lot of misogyny. There's a lot of ego. There's also a lot of excitement and electricity. Part of the reason Mad Men works is because, at least sometimes in the boardroom, you're exhilarated. There's something thrilling and sexy about the work, so I don’t think that’s changed either." Ben Purkert speaks with Esquire about his novel, The Men Can't Be Saved, and what's it like working in an ad agency.

Book Marks: Japan's Zine Culture, Etc.

The South China Morning Post reports on the zine culture in Japan. One story is about a Japanese guy who "published a zine chronicling his time working as a barista in Melbourne, Australia, for a year", instead of publishing it on social media. Keisuke Nagura didn't have any experience making a zine nor did he make a profit selling it, that didn't matter. “It reaffirmed my love for coffee culture and the joy of having something I can hold in my hands and share with others,” he stated.

I see some parallels with doujinshi-making, and the appeal of having something tangible in one's possession as opposed to an on-screen digital portfolio. Making physical art makes it less ephmeral and a testament to the creator's passion to bring something in the imagination to life. If only making art was a viable way to earn a living...


Elsewhere:

• In Zimbabwe, a bunch of women writers are telling stories of their country, particularly of its postcolonial history. “It is a burden to carry because Zimbabwe is not a forgiving country, especially if you choose to use your voice, if you are opinionated,” Dr Tinashe Mushakavanhu, a research fellow in African and comparative literature at the University of Oxford, tells the Guardian. “You find that in the ways that Zimbabweans react to social media ... to be a woman who is writing [about] a country is not easy in that context."
• "Children want to learn about lives beyond their own, and they want to accept. And for the children who already understand very well what it’s like to live the lives the characters in these books do, it’s more a matter of mirroring, of seeing someone like oneself filled with joy and thriving – something everyone deserves." Alex DiFrancesco, editor of gender and sexuality books for Jessica Kingsley Publishers, speaks of the culture wars.
• "In buying books, I’m feeding the delusion that I will get to them all. Because, from my cockeyed perspective, it’s the noble thing to do. And perhaps it takes me back to better times." Chris Vognar's book hoarding is shared by many, and I don't doubt that they too "will get to them all." Like Vognar, I think that for many hoarders, it's the journey of discovery, the hope that one book will lead to one thing, then to another thing, preferably another book. Everything else along the way is a bonus. But as we grow older and books become more expensive and our collections bulk up, hard decisions will have to be made.
• This excerpt from Chasing Shadows: My Life Tracking the Great White Shark by shark expert Greg Skomal and journalist and writer Ret Talbot would have been a great addition to a list of reads about sharks I had been compiling. That it's only published this year is no excuse for my omission. One more for the TBR pile, then.
• The ordeals of a Chinese novelist bring the hardships facing Chinese writers telling stories of the real China – not the santitised, glossed-up and perfumed narratives approved by Beijing under Xi Jinping – into relief. The bans from publishing platforms; the threats, intimidations and insults from members of the security forces; and more. Enough to make one angry or despair.
• "Translating and publishing books without permission from authors or publishers is a punishable crime," reports The Kathmandu Post. "But Nepal’s book market is full of such unauthorised translations and prints of books written by the who’s who of the world literature." And how. From Robert Kiyosaki and JK Rowling to Taslima Nasrin, unauthorised (and poorly done) translations and pirated copies flood the Nepali book market in defiance of local laws.
• Dashka Slater, author of the The 57 Bus, issues a call for support of writers whose works are being targeted for bans in the American culture wars. "Well-placed lawsuits may eventually put an end to clearly unconstitutional censorship laws, but succeeding in court requires time, money, and an unbiased judiciary. For now, we have no choice but to fight where the battle is being waged—at school board meetings and statehouses. And frankly, we need our allies to start showing up."
• Raymond Chandler's The Big Sleep, one of several novels under Vintage's Black Lizard collection, is reissued with a trigger warning over what is considered outdated language. I mean, it first came out in 1939. The Daily Mail also reported that similar warnings and notices were also added to novels from other authors such as Ernest Hemingway, Virginia Woolf, and PG Wodehouse. Sucks, but better than bowdlerising or creative editing of such books.
• "The right editor at the right house, pitched by the right agent. The right sales person liking your book. The right bookseller getting excited about it. The right store buyer taking a punt, the right reviewer getting sent your copy. None of those things will individually make or break a book, but all of those things aligning can launch a novel, and enough of them going right in a row will have a cascading effect in your favour." Sunyi Dean speaks with Grimdark about her debut novel, The Book Eaters, writing, and more.
• After Henry VIII had Anne Boleyn executed, he had every trace of her erased, including her books. One of those was the Book of Hours, a prayer book that had hand-painted woodcuts and over 1,500 devotional texts. The book was found in 1903 but what happened to it remained a mystery "until 2020 when Kate McCaffrey, then a graduate student at the University of Kent working on her master’s thesis about Anne Boleyn’s Book of Hours", uncovered clues to the identities of those who passed it down throughout the years to keep the queen's memory alive.
• "One of the big misconceptions about translations is that the translation is not copyrighted. That’s not true, said [Yilin] Wang. Even though Qiu Jin’s poems may be out of copyright, Wang’s translations of her poems are copyrighted for Wang." Yilin Wang – who's facing off against the British Museum for using her translations for an exhibit without permission, compensation, and proper acknowledgement – speaks to Book Riot on the feminist poet Qiu Jin, the art of translating, and #NameTheTranslator.
• The longlist for the Booker Prize (not the International Booker Prize, which is for translated works) is out and, what do you know, The House of Doors by Tan Twan Eng is in it. Is this his third longlisting? He was one of the judges for the Booker's sister prize this year, which was won by Bulgarian author Georgi Gospodinov and translator Angela Rodel for the novel Time Shelter. Thinking of this with a chuckle as I recall an anecdote of someone who was peeved with Tan winning an award a decade ago. What other accolades will The House of Doors bag?
• "While I hope that every book I write brings something new into the world and makes others feel seen or enriched, I don’t think it’s my job as a fiction author to educate people on my experience. I also just don’t think that the immigrant experience is a monolith. It’s so complex. Even just the Vietnamese-American experience." Vietnamese-American novelist Thao Thai speaks to Observer about her debut, Banyan Moon.
• "Book editors are the unsung heroes of the publishing world, polishing manuscripts until they shine like gems," writes Beatrice Manuel on Make Use Of (MUO). "If you're eager to embark on this exciting journey of words and pages, and want to become a book editor, here's how you can get started." Wish I had these tips when I started out in late 2010. Back then it was sink or swim, even though I had some editorial experience prior.

Book Marks: BookTok, Disabled Authors

After last week's book news deluge, I'm a little glad things are quiet this week. Still sticking with the weekly programme, and I hope I can keep this up. Now...

Is BookTok doing what Goodreads is supposed to do? Besides extolling the authenticity of BookTokers and BookTok's utility as a book promotion and recommendation platform, Maggie Siciliano also writes about how much fun TikTok has injected into book marketing, boosting certain titles and their authors' careers. Not quite what Goodreads is notorious for these days.

While some are enthusiastic about TikTok's contributions to book culture, others express caution. Sarah Manavis feels that with TikTok's foray into publishing, virality would end up dictating what publishers produce. Examples provided include "conventional romance novels, trashy thrillers, self-help and the kind of scientifically dubious non-fiction you’d be be recommended by an account manager on LinkedIn."

Arguably, these are the kinds of titles that gets people talking because of how polarising they can be, plus they contain so much to nitpick and discuss. TikTok, I feel, is becoming the place where many who read (and attempt to write) these sorts of novels converge. Romance, conventional or otherwise, plus "trashy" thrillers, are the escapist realms of choice, though if one drifts away from the anglophone sphere, one might find trashy self-insert harem fantasies and BL-themed material as well.

At The Walrus, Tajja Isen is concerned that if TikTok going into publishing, the company might spotlighting the books it wants to promote, at the expense of others, thus ruining what made the platform such a force in book promotion. "There can be no grassroots thrill of discovery, no sleeper hits outside the allotted publicity window, no passion-driven community of readers, if the only books people hear about are ones that the algorithm has decided to force in front of them." That certainly is a danger, and one can only hope that ByteDance will do what's best for it.

People who want to write books will write books, and fans of other genres will get the word out on their faves, probably with less fanfare. That will make them harder to find, but isn't that part of the fun? There are those who build their reputations on finding these rare gems and a bigger field means more opportunities for the next big literary score.

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"Working from home has been a huge help in managing my fibromyalgia — being in front of my laptop in my own environment, instead of commuting to an office, means I’m much less tired and helps me avoid triggers for my chronic pain." Alice Nuttall shares her experiences as a disabled writer and tells of the challenges others like her face in their career.

Accessibility is an issue, exposure is another. As awareness grows, I think, the disabled will get their voices out and more disabled writers will get due recognition. Writers such as Sao Ichikawa, winner of the Akutagawa Prize for literature, for her novel Hanchibakku ("The Hunchback"). Speaking to reporters, Ichikawa wondered why she was the first disabled Akutagawa Prize laureate. “I wrote this novel thinking that it is a problem that there were few authors with disabilities.” May she not be the last.


In other news:

• "With robots, pirates and witches, LGBTQ+ authors are making their mark in the fantasy genre. Maximizing the endless possibilities of magical realms, these authors say they can create safe worlds devoid of prejudices, such as homophobia and transphobia, opening a universe where readers can discover themselves along the way." At a time when works by LGBTQ+ are being targeted for bans, like in the United States, safe spaces like the magical places in fiction can make a big difference.
• Claire Armitstead goes on a bookshop crawl in Birmingham to find out why independent bookstores seem to be thriving, and whether the boom can be sustained. "It is a qualitative survey inspired by surprising news that, at a time when a lot of shops are struggling amid a cost of living crisis that has followed hot on the heels of a pandemic, bookselling is thriving."
• Books and other works are shedding light on Japan’s ties with the opium trade in China. The Asahi Shimbun article opens with how the trade is featured in the manga Manshu Ahen Squad ("Manchuria Opium Squad"), the cover of which I've seen once. "[Historian Goichi] Yamada would often say that opium was an 'underhand source of revenue' for Japan," the report states.
• As Twitter sinks, Goodreads stagnates, and the future of other social media sites seem wobbly, Molly Templeton wonders if there is a place where bookworms can find community, minus the hype, drama, and the whims of insecure owners of digital platforms. "What does a better bookish internet look like?" she asks. "It can’t just be one thing, one site, one platform. It needs more legs to stand on, and more ways to catch itself when a pillar crumbles."

Book Marks: Fact-Checking Books, Why Writers Write, Author Welfare

Australian publisher Hachette has pulled the memoir of a retired police officer from publication after concerns were raised about its accuracy. The report states: "The case raises a number of questions: chiefly, what kind of fact-checking processes, if any, do publishers use when commissioning and editing non-fiction books, especially memoirs?"

This is probably not the first time these questions were asked. In 2019, The New York Times published a story on errors in books by some high-profile authors and ponders the question of who should be responsible for fact-checking books, especially those with controversial subject matter that would invite more intense scrutiny.

"Publishers have long maintained that fact-checking every book would be prohibitively expensive," says the report, "and that the responsibility falls on authors, who hold the copyrights. But in today’s polarized media landscape, that stance appears to be shifting as some publishers privately agree that they should be doing more, particularly when the subject matter is controversial."

I'd probably say that books in general are being scrutinised more closely than ever. Even fiction is being closely read and hiccups found, like that book featuring a now-famous recipe for red dye. Technology allows books to be searched digitally, and social media helps drive the urge to find and publicise stuff – and stir up drama.

Trust as an element in publishing is no longer sufficient, not just for factual errors but also instances of plagiarism. Publishers may need to step up when authors fall short in fact-checking and verification of their works, non-fiction in particular.

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John P. Weiss shares a bit from his writing life, and ponders one's aim of writing and how to course-correct when one loses one's way as a writer. I also like his idea of adding illustrations to his posts and articles.

This was my problem as well midway into my spell writing for money. It was a way to earn extra cash but as time went by, I would strive to "write better", lapsing into analysis paralysis when researching, furiously nitpicking each piece to death for anything that would undermine my arguments, and forgetting to just write. I'd only begun to emerge from the rut, but those tendencies remain.

I would've found Weiss's article helpful during the worst of it. Hacking algorithms for exposure is one way to get noticed but Weiss cautions against being consumed by numbers and money and forgetting the reason one writes. "We need fewer algorithm hacks and a lot more storytellers," he writes, "so we’ll remember 'who we are and why we’re here.'”

Hence, I believe that once we remember the "why", everything else starts falling into place, even for those who solely rely on writing to pay the bills. Kind of how author and inspirational speaker Simon Sinek exhorts his audiences to find the "why" in what they do.

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With the ongoing debate about work-life balance and how to achieve it, steps are being taken to address author and staff well-being in the United Kingdom. According to the Guardian...

This month, Anna Frame, communications director at the independent publisher Canongate, has confirmed the launch of two initiatives: an authors’ handbook in partnership with the Society of Authors (SoA) and a resource pack for publishers, in conjunction with English Pen. Canongate has also announced that it will publish fewer books so that it can dedicate more time to authors.

These measures follow news that the Orion publishing group will establish an academy for debut novelists with the aim of “demystifying the process and ensuring expectations are clear”.

Writing can be a lonely endeavour, with no support even from publishers. This is especially true for debut authors, and we haven't gotten into what happens after the manuscript is sent to print. These days it's not just writing; authors are also expected to market their work and engage their audiences, and not all writers can cope. Red tape, corporate culture shock, nasty Goodreads users, impostor syndrome ... small wonder some writers need help at some point.

Jonny Diamond at the Literary Hub also picked up the news, via a "particularly ungenerous Twitter thread", and lambasted the replies to the thread telling debut authors to "shut up and deal with it". Diving into authorship and publishing can be hard on newbies and Diamond is glad that "the publishing world in the UK is taking this seriously. We should be lifting up the younger generation of writers as they come of age in an era of never ending war, periodic plague, and climate doom." Aye, and I hope this catches on elsewhere.

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TikTok is now into book awards too. The vlogging platform launched the TikTok Book Awards UK and Ireland to celebrate and recognise "the books, the independent book shops, the authors and the creators that have made the #BookTok community such a unique place." Now, the shortlist(s) for the inaugural awards are out, with categories that include BookTok Book of the Year, BookTok Author of the Year, Indie Bookshop of the Year, Best BookTok Revival, and Best Book I Wish I Could Read Again for the First Time.

While BookTok and Bookstagram play a huge role in PR for books, what happens when book-related merch enters the equation? "Now, many publicity and marketing campaigns are created with influencers in mind, with TikTok video-worthy PR boxes and branded swag that’s designed to create a social media moment upon a book’s publication. The question, then, isn’t if influencer culture is changing book marketing and publicity, but how."

Digital platforms rely on user input and incorporates algorithms to tailor user experience. Audiences searching for things of interest can end up with results where what's popular or hot can be determined by users who can game the system, skewing search results, recommendations, or previews (Malaysian YouTube, ugh). Book-related swag may be a viable promotion method, but one wonders whether the reception to the related merch can make a book look better than it really is. As arbiters of taste, platforms such as TikTok, Instagram, or Goodreads are only as good as what their user bases are into.

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After the lawsuits comes the open letter. More than 8.500 authors from several genres of writing criticised makers of large language AI models for using their work to train the AI without permission or compensation. The letter also claims that, of course, AI threatens authors' livelihoods and "urges tech companies behind the AI models to obtain the writers’ permission before using their works and compensate them fairly for the past and ongoing use of their works in their generative AI programs."

Whether this will help pressure tech firms to rein in their AI development with copyrighted material is hard to tell, as finding evidence of AI being trained on such material is hard and the world is only beginning to reckon with the advent of AI in a growing number of sectors. The technology is still new and error-prone, so we still have time to adjust.

Meanwhile, publishers and writers keep pushing the envelope with regard to AI-generated content, driving a tsunami of machine-written material. Hachette is publishing poems by an AI poet – has the precursor to Jeff Hewitt's imagined AI author ORWELL arrived?

Developments in tech are moving fast but Elizabeth Minkel at WIRED doesn't think AI will disrupt books much and that the tech bros hyping the earth-shaking potential of AI to do so don't understand the medium or readers at all. She quotes writer and book-industry observer Maris Kreizman: “I don’t think they’re coming to that with a love of fiction or an understanding of why people read fiction. If they were, they wouldn’t make these suggestions that nobody wants."


Also:

• In the Livingston County News is the Los Angeles Times interview with author RF Kuang about her latest novel, Yellowface. "Speaking from New Haven, Connecticut, where she is pursuing a PhD from Yale in East Asian languages and literature," the report goes, "Kuang admitted with delight that 'every single thing that happens is based on a real scandal.' Folding in everything from the 'American Dirt' controversy to the 'Bad Art Friend' debate was part of the fun of writing a novel whose dizzying absurdities ... are still no match for reality."
• Bentala Naga, a book based on a legend told through Makyong performances, is being released in Italy as Bentala – Regina dei Naga: Una Leggenda Makyong ("Queen of the Nagas: A Makyong Legend"). The book by local author Ninot Aziz drew the attention of Italian publisher LetterarieMenti at the 2022 Frankfurt Book Fair, and they wanted to publish the Italian translation of it. Hope the Italians will like it.
• A "quiet revolution" is reportedly happening in British publishing as several major book prizes were all scooped up by small publishers. And one reason is what many feel indies can do better than larger publishing houses: "...because commercial pressures at large houses encourage cautious commissioning, nimbler indies – operating with tighter margins – step into the void and give choice-starved readers the books that corporate imprints deem unsaleable or otherwise risky."
• In a new book is an incredible story about Rekhabai, a fiery tawaif (courtesan, or female performer) in the mid-1900s, written by her son. One sees some parallels with the geishas in Japan, though the courtesan culture has died out in India. One is also reminded of another biography, No Bed of Roses, about the legendary entertainer Rose Chan.
• On the topic of tough women ... a graphic novel about Edith Garrud, pioneering instructor of women's self-defence and key figure in the British women's suffrage movement? Check out the excerpts and see if it interests you. Scheduled to be released on 1 August, though it's unsure if copies will be available in bookstores here.
• Know those donation drives every time there's a natural disaster? And reports of discarded or unusable items being "donated" to the victims? Getting those vibes from this piece advising against donating used or unwanted books for good causes. "Just as USAID claims to fight famine by sending surplus food from American farmers, Books for Africa will send surplus books from America. In both cases, their free goods undermine the ability of African countries to produce things for themselves."
• In June, Kelly Jensen at Book Riot "distributed an author survey to gauge the impact of book bans on authors. The survey specifically sought to look at where or how school and library visit invitations have changed since 2021 — the first year this wave of book bans really caught fire." The results are in and, yes, the impact is sizeable.
• Someone is clamouring for romance hardcovers, not just for practical reasons but sentimental ones as well. "The average reader — who isn’t particularly a collector — would still be able to maintain their habit, but if they wanted a prized hardcover to keep on the shelf, or if they simply prefer reading hardcovers for accessibility or other reasons, they would have the chance to get them."
• Author, poet and literary critic Amit Chaudhuri once wrote that "colonialism hadn't introduced the cheesecake to the Indian middle class, but globalisation did". But journalist Priyadarshini Chatterjee found recipes for cheesecake – which uses no cheese – in a Bengali book published in 1904, almost 120 years ago. "History tells us that not all cheesecakes are made of cheese," she writes, "least of all cream cheese." Would Max Miller of Tasting History be interested?
• Can I just leave this here? I believe this piece is about the importance of editing and why a book must be well edited to avoid the necessity of abridgement. This is also a good argument for not bowdlerising books published a long time ago; such books are records of the views of the time and sanitising them of objectionable content runs the risks of whitewashing history. Teach readers how to engage problematic content.
• A book reviewer in Australia has been caught cobbling reviews from publishers' descriptions of the books, plus text in those books and material from other reviews. The article tries to discern whether the reviewer, a well-known figure in Australian academia, was plagiarising, cobbling, or both. This plagia-cobbling strategy sounds like a go-to for writers who have to review books despite being short on time and energy and having no access to those books. But if they had the books, is there an excuse for this?
• Celebrity autobiographies are often ghostwritten and readers understand that. But what of celebrity novels? "Do the rules that apply to the celebrity memoir remain the same when it comes to celebrity-authored fiction that has been ghostwritten?" asks the Guardian.
• A short Q&A with Henry Hoke, author of Open Throat, about a ... queer mountain lion living under the Hollywood sign? "Observing passing hikers, young lovers, and residents of the nearby encampment from the shadows, the lion comes to understand that they live in a city they believe to be known as 'ellay' and that their trauma resulting from their vicious father still resonates today." I should make a note about this title.
• A deep dive into the "third space for reading and the future of modern literature" that is the fanfiction sphere. "Fanfiction ... exemplifies the transformative potential of literature and pop culture, offering consumers and readers an agency to channel their creativity while engaging, moulding, and connecting with the stories and characters from the fictional universe that captivates us," reports The Daily Star of Bangladesh.

Book Marks: News From India, Goodreads, Djuna's New Book

Quite a few interesting bits coming out of India last week. First, I love this story about the rise of the housewife author in India, especially how it starts...

It was while drying fresh chillies in the sun that Theertha Shivu thought of plotting an abduction. But it was past midnight by the time the 30-year-old homemaker from a village near Kushalnagar in Coorg got down to writing the next episode of her serialised serial killer story on Pratilipi, a digital storytelling platform.

First, she had to get all the house and farm work done, make sure the in-laws were asleep, the five goats and four dogs were fed before turning her attention to ‘Murder: A Police Love Story’ about a killer who preys on women with cat eyes but then falls in love with the police officer investigating his case.

The kicker is when the husband pooh-pooh's the wife's writing "until the money started rolling in". Writer's block? Muse on holiday? Dry some fresh chillies in the sun! Who knew it would be so effective?

The report goes on to profile several other such writers, who published on digital e-book platforms such as Pratilipi and Amazon India's Kindle Direct publishing. "Of Pratilipi's 9.5 lakh (950,000) writers in 12 languages, about 70% are women and almost all the top writers are housewives, followed by teachers, self-employed professionals and IT employees."

One could argue that the housewife author has already made waves long before this piece was written. I hate bringing up EL James, but ... well, many, many more like her have written books and stories that have their own audiences and fan bases on digital platforms, waiting for a journalist, blogger or TikToker to bring them under the spotlight. The next big thing might not be too far off.

Also making their mark are several South Asian novelists in this article on Homegrown, most of whom are women. The article seems to be making the case for a growing South Asian influence on the global literary scene, citing the inclusion of three South Asian writers in the 2022 Booker longlist.

Owing to a renewed surge in funding, forward looking publishers and mentorship programs, it seems like our homegrown authors are finally prodding at the Jenga tower of literary culture, causing it to wobble and upend the warped power dynamics of how the world perceives South Asian writing.

Will it? Regardless, more is better than less, in terms of volume and variety of reading material. South Asia has a long and huge literary tradition, and its contribution to world literary canon is more than welcome. The featured titles look interesting too.

While Americans are at odds over drag queens reading stories to children, in Mumbai, a drag artist cosplaying as a librarian hosted a children's tea part and read to them The Many Colours of Anshu, part of a growing canon of LGBTQ+ fiction coming out from India. The article is heartening because...

Instead of straightforward tales with a moral ending, these stories have gay couples, non-binary people, and transgender persons as their main characters. Many authors are also questioning the “elitist and Western” language of homosexuality like ‘coming out of the closet’, ‘queer’ and ‘pride’, which they argue has little resonance with a majority of Indians. And in doing so, they are gently nudging young minds while helping parents broach seemingly daunting topics.

While there are some commonalities, the LGBTQ+ experience is different from one country to another, and having local authors tackle and write about LGBTQ+ lives and issues in the local context is important in terms of representation, raising awareness and nurturing understanding.

And in this Q&A with Rahul Soni, associate publisher at HarperCollins India, translator, and co-founder of a bilingual literary journal, also called Pratilipi. It's Sanskrit for "you become what you read" and I'm guessing it strikes a chord with readers in the subcontinent. The interview is insightful and it's nice to hear from professionals in publishing, editing and translating from time to time.

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Irish writer Megan Nolan decries the weaponisation of Goodreads' "hugely reductive ratings process" and noted its role in fostering "a number of sinister controversies in recent years." She also brings up another question: should one need to have written a book to criticise one?

When told I reviewed food but didn't cook it, a former colleague felt it was ... hypocritical? Not right, in essence. I've since fixed that to a degree, though I've long stopped reviewing food even before the pandemic lockdowns began and dining in was prohibited.

Does the same apply to books? Nolan doesn't seem to think so. Having been a books editor for about a decade and written over a hundred reviews, I think I'm qualified to be a book critic, despite occasional attacks of impostor syndrome.

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Kate Knibbs at Wired manages to snag an e-mail interview with mysterious South Korean sci-fi legend Djuna (with the author's translator as the go-between) after reading the English edition of their newest book, Counterweight.

I have no idea how much artistic licence the translator took with the replies, but it's surprisingly interesting and provides a glimpse into the sci-fi writing scene in South Korea, also talking about films and manhwa.

And if you think going by pseudonyms is strange, Djuna reveals that "Last year, the nominees for the Korean Sci-Fi Awards’ webnovel category included CatG, ISteppedOnLego [SNRK], Hongbi, Neon Sign (Nehreuk), Shipstick, Yeonsanho, 2-ga 0, Songeum, Sanhocho, and Choongek. Only the winner, Yeon Sanho, had a normal-sounding Korean name." Very K-pop-esque.

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A new Mississippi book-banning law may cut off minors' access to e-books or audiobooks through public libraries.

"Many libraries utilize resources like OverDrive and Hoopla to allow library cardholders instant access to a wide array of e-books and audiobooks," the report goes. "This means that libraries can’t offer these resources unless they can verify that all the content on these platforms complies with Mississippi’s bill or have a system in place to prevent minors from accessing content that isn’t in compliance with the bill."

Ultimately, a ban is less of a hassle than any attempt to monitor what minors read or categorise material according to age.


Elsewhere...

• In Afghanistan, Taliban rule is stifling the book industry, and Kabul-based journalist Hujjatullah Zia is concerned: "Overnight, Afghan book publishing has gone from being a flourishing sector ... to a struggling and risky business venture. Afghans have gone from being avid readers to not being able to afford books. I have gone from being a proud author and book owner to a despaired man who has tried and failed to hold on to an intellectual life in Afghanistan."
• Zimbabwean playwright, filmmaker and award-winning novelist Tsitsi Dangarembga speaks with New Zimbabwe about her new non-fiction book, AI, activism, the International Images Film Festival for Women, and more.
• A long-forgotten 1930s novel acclaimed by George Orwell and W.H. Auden will be republished after a Manchester bartender rediscovered it and solved the mystery about the author's last wishes, succeeding where academics failed. The bartender managed to get the book republished too. Never underestimate bartenders and the social networks around the local watering hole.
• Not long after a foundation linked to Hungarian president Viktor Orbán took over the country's largest bookstore chain and publisher, Libri, certain books sold by the chain are now being wrapped in plastic. To no one's surprise, these include books with LGBTQ+ characters, such as Micol Ostow’s Riverdale series and Alice Oseman’s graphic novel Heartstopper.
• Molly Templeton waxes lyrical over "books that no one else knows about". The term is used loosely because there is always the chance that someone else knows about "that book no one else knows about but me" – and if those people meet there will be lots to talk about, mostly about the book.
• Here's an argument against posthumous editing of books for today's sensibilities, which adds that the practice could lead to call to remove anything labelled "offensive" from existing books, like what the US book bans are trying to accomplish. At any rate, "We don’t need to update authors’ books to reflect contemporary values because our contemporary values are reflected by authors writing books right now."
• Authors Sarah Silverman, Richard Kadrey and Christopher Golden have filed two lawsuits against OpenAI and Meta, the creators of AI language models ChatGPT and LLaMA, respectively. The lawsuits allege that the language models were trained on the authors' books without permission, pointing to summaries of the books produced by ChatGPT that I assume were so damn good, they could've only have come from "reading" the source material. This bunch joins authors Mona Awad and Paul Tremblay, who sued OpenAI for the same reason.
• It happens: you're reading books in a series and you eventually end up hating the whole bunch. Is there any reason to continue reading the series once the interest wanes? Over at Tor.com, James Davis Nicoll gives five reasons to finish a book (or a series) you don't love.

Book Marks: Fixing Goodreads, Jarhead Ban

Has Goodreads "poisoned literature", as this article in The Telegraph claims? Using the case of Elizabeth Gilbert's latest book as a springboard, the writer dives into the reliability of Goodreads' rating system, which has been weaponised by blackmailers and review-bombers, most of whom may have never read the books they target.

How can the website remedy this? The writer suggests that "Goodreads and other online review sites could surely vet more carefully the reviews they host, or at least nip in the bud campaigns launched against a book before it’s even been published – after all, few authors can afford simply to chuck a book in the bin as blithely as Elizabeth Gilbert has. As a gatekeeper, Goodreads, as it stands, hardly seems fit for purpose."

The New York Times highlights some cases of review-bombing, and while it argues that, "As a social platform, part of what Goodreads is offering is conversation and user engagement, and controversies and debate can drive more comments and time spent on the platform," there's room for improvement.

However, author Gretchen Felker-Martin, speaking to the NYT, does not think "Goodreads has an economic incentive to be any better. It would be just a gargantuan job to significantly monitor the kinds of abuse that’s being heaped onto people every single day, but there’s certainly some middle ground between breaking your back trying to deal with all of it, and dealing with none of it.”

Kara Alaimo, an associate professor of communication at Fairleigh Dickinson University who writes about issues affecting women and social media, is optimistic that Goodreads can fix itself, even as its reviews "are quickly becoming unreliable." Good for authors, "but it would be all the more so for readers, because it would ensure we keep some of the power to determine which books break out."

The Washington Post, however, wonders if Goodreads will be able to fix itself, calling it a site "built on outdated technological infrastructure" that isn't worth the money and effort to overhaul by its owner, online retail giant Amazon, which seems to have other priorities. "Former employees said Amazon seemed happy to mine Goodreads for its user-generated data and otherwise let it limp along with limited resources."

Nor does Amazon seem keen on radically revamping the site, to avoid driving away Goodreads diehards. "One former employee compared Goodreads to Reddit, an 18-year-old internet forum where users are revolting because of modifications to the site," goes the WaPo report.

The outlook is kind of bleak, and I'm reminded of what is happening to Twitter. Goodreads is a great resource for books and opinions on books and at this stage, a stable, functioning online portal gives many comfort. If it ain't broke...

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In Ottawa County, Michigan, the Board of Education for Hudsonville Public Schools voted to ban Jarhead from a high school library. The 2003 memoir of a marine during the First Gulf War was branded an “extremely violent, vulgar, pornographic diatribe”.

Considering the types of books subjected to such scrutiny and restriction, the author never thought that his book would be targeted. And now that the U.S. is in a proxy war with Russia, "it seems like a good time to ensure student access to all points of view concerning warfare," the author writes in The Daily Beast.

His closing remarks is an echo of what critics of the bans have been trying to get across: "Make no mistake, they are banning books, but really they are restricting access to ideas. And when one small group of people ban a larger group of people access to ideas, we are in for a closing of the American mind."

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ByteDance, TikTok's parent company, is launching a publishing company to take advantage of TikTok's ability to make books viral. But will 8th Note Press end up marginalising other authors, favouring only those it wants to promote? Some authors are enthusiastic about the new imprint, because #BookTok is one hell of a soapbox right now. However, as The New York Times notes: "...ByteDance will likely face the same challenges as traditional publishers: Readers are fickle, and ultimately, viral videos won’t automatically create a blockbuster if the books themselves aren’t appealing."

And should a video platform be publishing books just because it helps to sell books? There are few doubts about the latter, as in the case of Shawn M. Warner, whose poorly attended book-signing event was spotted and later posted onto the platform by a TikToker. The video went viral and sent Warner's novel, Leigh Howard and the Ghosts of Simmons-Pierce Manor, up the charts on Amazon.


Other news:

• Novelist Ken Liu responds to a short story by Jeff Hewitt about a court case involving publishers and an AI author. There's a fair bit to unpack: can AI reach a stage where a machine can out-write humans in terms of output AND quality? Are human writers and LLMs more similar than different?
• The Libri Group, home of Hungary’s largest publishing house and bookstore chain, have been taken over by a private foundation closely associated with the country’s far-right prime minister, Viktor Orbán. The Mathias Corvinus Collegium (MCC), "has been likened to a training ground for future cadres of Orbán’s hard-right, populist Fidesz party," the Guardian reports. As a result, some of the writers published under Libri have bailed, while others have voiced concerns that this move is another step in the government's bid to exert more control over speech in Hungary. Eszter Kováts, an assistant professor in the Institute of Political Science at the University of Vienna, looks into this in detail.
• ELLE profiles several women in publishing, from authors to literary agents, who are taking the industry "in new and compelling directions.
• Richard Charkin asks ChatGPT what are the principal megatrends affecting the publishing world, and then sets it straight.
• While a librarian was away from a school library in New Zealand, a couple of books by a controversial publisher said to contain racist propaganda found their way onto the shelves. According to Stuff, "The books in question were printed by ... a Kiwi company that has produced three books on New Zealand history in the past year. None of the authors appear to have relevant qualifications as historians."
• Here it comes: Bloomberg reports that ChatGPT creator OpenAI is being sued for violating privacy laws by scraping material from the Internet, including books, articles, websites and posts. Another suit against OpenAI by two authors, Mona Awad and Paul Tremblay, alleges that their books were used to train ChatGPT because of the chatbot's "very accurate summaries" of the works. Will more suits follow?
• Want to read reviews of a book? Do it after you've read the book: "Reviews are not recommendations (or anti-recommendations) so let’s stop treating them that way. Let’s take the pressure off and stop expecting to love or hate a book because of what someone else says about it."
• Book cover model Fabio dismissed the emergence of the "cinnamon roll" male lead in romance novels as a "trend" and called the idea of male characters showing their sensitive sides "hogwash." The Messenger shoots back: "The genre now better reflects the diverse range of men who exist in the real world — men who exceed traditional gender roles by broadening the behaviors that define masculinity. There's nothing hogwash about that."

Surviving Workplace Jerks

Three years after the first COVID-19 lockdowns, almost every business is fully opened up and getting its workforce back into the office. Many have surely bid farewell to their sweet, sweet work-from-home days with a little sadness as they ironed their work clothes, even if WFH is still allowed in a limited capacity.

For some, however, "returning to work" may feel daunting at most if theirs is a toxic work environment. With more and more eyes opened to the benefits of a better work-life balance and other possibilities beyond the office, the urge to leave such an environment is great.

Not to say workplace toxicity in your neck of the woods is bad, but in many countries it has become a source of concern. Revelatory articles and thinkpieces about toxic work environments and the need for work-life balance have emerged in the wake of the push for "business as usual". More and more self-help books are sporting in-your-face titles, not a few with harsh language, perhaps to emphasise the urgency of doing something NOW.

One of those books is The A**hole Survival Guide by Robert I. Sutton, an organisational psychologist and Professor of Management Science and Engineering at Stanford University who studies leadership, innovation, organisational change, and workplace dynamics.

Sutton had written two other books. The No Asshole Rule is touted as a guide for working with and surviving all manner of assholes out to make your life at work a nightmare. The follow-up, Good Boss, Bad Boss, highlights actions by the best bosses and the mistakes of the worst to guide readers to become "the great boss most people dream of having." This book completes what could be called Sutton's a**hole triptych.

After writing The No A**hole Rule, Sutton was apparently inundated by thousands of requests for tips to survive a**holes from a range of people: from professionals, members of the clergy, students, and CEOs to "my barber Woody, and even my mother."

Rough language in a title is not for mere shock value. That so many, by his account, reached out to him in the wake of the book's release, is telling. Though one can look up reports of awful workplace hijinks, the litany of bad behaviours Sutton presents on one page is gasp-inducing.

Ear flicking.

...Smiling warmly as she whispers in his ear, "You are a loser. I am going to bring you down."

...Writes an employee up for arriving to work fifteen minutes EARLY.

...Flies into a rage over a late water delivery for the office cooler.

...Tosses a lit cigarette at him.

...Grabs her and bites her on the arm "leaving a bruise."

Makes you wonder whether some of the emails Sutton received are made up. Then again, we now know practices such as bullying, sexual harassment, and discriminatory practices against women and minorities are rife in some businesses, to the extent where it's considered part of the corporate culture internally – until the backlash that inevitably ensues after such practices are uncovered.

Sutton builds a good case for why workplace toxicity is bad, and offers some insight into why some at work are such jerks. Machiavellian maneouvres in some workplaces are perhaps inevitable when one climbs to the top, but at some point people's perceptions of what powerful people should be like are warped, and toxic behaviours are seen as hallmarks of a survivor or "player" in office politics.

He cites an article in The Atlantic that lays out why one should be a jerk at work. He then cautions against such a culture, writing that "my reading of that big pile of research indicates that pundits and professors who celebrate bullies, takers, and narcissists are exaggerating the spoils and downplaying the harm that assholes inflict upon themselves (especially in the long run)."

...treating others like dirt is contagious—so if you work with a jerk (or, worse, a bunch of them), you are likely to become one too. A 2012 study documented how such shit rolled downhill: abusive senior leaders were prone to selecting or breeding abusive team leaders, who in turn, ignited destructive conflict in their teams, which stifled team members' creativity.

After walking you through some diagnostics (how serious is your a**hole problem?) Sutton volunteers "field-tested, evidence-based, and sometimes surprising strategies for dealing with a**holes" – ways to help you avoid, outwit, disarm, and develop psychological defences against jerks who endeavour to make life hell for you at work.

When one can't evade, outmaneouvre, befriend or reform one's workplace tormentors, there's a chapter on "fighting back": confront the jerks, or find ways to expel them from the company – risky last-ditch steps when things have gone too far. Mental reframing of one's situation can also end up encouraging one's tormentors or lull one into complacency.

While Sutton draws on research, his experience, and the correspondence he receives from people about the subject, he's not touting The A**hole Survival Guide as the definitive guide on surviving toxic people. "A**hole survival remains more of a craft or skill than a science," he writes. From some of the examples he gives about confronting a**holes, readers should consider themselves cautioned.

Airport staff, for one, shouldn't retaliate against a rude client by sending his baggage to a faraway location, and one should be careful when retorting against and then slamming the door in the face of a CEO's right-hand man. With people, everything is situational, and test cases will not predict what happens in real life.

If you think of yourself as a civilized person but seem to run into assholes everywhere you go, look in the mirror—you could be staring at the culprit. Remember, treating others like dirt goads people to bully you back.

Another thing to note about Sutton's book is how US-centric the examples, test cases and research are. Self-help books from abroad, particularly the United States, don't juxtapose their theories and arguments against scenarios in other non-Anglo cultures (here's one such book, which, incidentally, was blurbed by Sutton). Talking back to your superiors is even more of a career-killer around these parts, even if one is right.

Some of Sutton's strategies, especially those on "fighting back" against one's tormentors, may not yield the desired results in environments where some toxicity in workplaces is accepted as the norm. And good luck fighting sexual harassment and gender discrimination in extremely patriarchal societies.

Nevertheless, workplace toxicity and how to deal with it is a universal problem, and this guide is anything but useless. At the very least, audiences outside the US and the white Anglosphere in general can gain some insight into how things are in Sutton's neck of the woods. And the research he quotes legit warns of the hazards of a toxic workplace culture.

...although we humans sometimes express it in strange ways, we all want a life where we encounter and are damaged by as few assholes as possible, we want the same thing for those we care about, and we don't want to behave like or be known as assholes.

He does address the possibility that the reader's environment and situation would make some of his advice ineffective or redundant: "The studies, stories, and techniques here provide fodder for crafting your custom survival strategy (after all, there are no surefire, one-size-fits-all solutions)." So it's up to the reader's to create, implement, and refine their a**hole survival plan, taking into account the limits imposed by the laws, the culture, and societal norms in where they are.

We are all responsible for taking care of ourselves, Sutton adds, but we also rely on others for physical and emotional sustenance. In the process, he appears to argue, we end up expecting too much from the other person and offence is caused. Hence, the a**hole problem.

So it falls upon us to manage those expectations while being mindful of others and, where possible, being kind while staving off attempts to fight negativity with more of the same. If everyone strives to do that, perhaps the a**hole problem will finally go away.

Until workplaces the world over wakes up to the fact that a toxic work environment does more harm than good, we'll have to do what we can.

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The Asshole Survival Guide
How to Deal with People Who Treat You Like Dirt

Robert I. Sutton
Houghton Mifflin Harcourt
214 pages
Non-fiction
ISBN: 978-1-328-69591-8