Really, it’s terrible. How this prototype ever made it into production I don’t know. It’s as if its creators had never seen an iPhone. Or a Walkman, for that matter. Where have they been? And the Internet capability that the device offers (almost exclusively so you can download books and other reading material from Amazon) is so poor — its parameters so hard to determine, its browser so ungracious and inaccessible — that you’re discouraged from ever exploiting it.

At the same time, and you’d be justified in thinking I’m just seeking a silver lining to rationalize my homely new purchase (it cost $360, after all), there’s some way in which the Kindle’s weak Internet connection and elusive browser are the best parts of the machine. As I said, the Kindle feels insular and remote from the wild world of commerce and buzzing data swarms. But the fact that it’s connected to the Web sort of — it has to be, right? Or how else could I download all these books? — makes the Kindle somehow better than a book. Because while I like a few hours on an airplane, I can’t say I want to move into a locked library carrel and never visit the Internet again. And I like that the Kindle, which connects to the Web through some proprietary Amazon entity called a Whispernet, is not completely out of it. The Kindle acknowledges the Internet; it hears its clamorous demands. It just ignores those demands. For the user, this means the Kindle bestows on the contemporary reader the ultimate grace: it keeps the Internet at bay.

Literature | Mary Shelley created a monster out of her “waking dream,” but how much of the original “Frankenstein” was actually written by her husband, Percy? A new edition of the earliest recoverable manuscript of this much-altered novel shows his writing and editing were substantial. [TLS]

Larry McMurtry, in his just-published elegy, Books (2008), evokes the narrative of decline and fall: “How did one of the pillars of civilization come, in only fifty years, to be mostly unwanted?”

For such people, the bookstore is more than a business. “We always wanted not just books but a shop,” writes McMurtry. He laments the disappearance of secondhand bookshops, and concludes with a list of booksellers, many of which are marked, simply, as “gone,” the way 19th-century newspapers used to list the casualties of the battlefield as simply “dead.” “The complex truth,” McMurtry writes, “is that many activities last for centuries, and then simply (or unsimply) stop.”

The most eloquent reflection I have found on the future of books is Alberto Manguel’s The Library at Night (2006), which strikes a balance between romanticism and realism, nostalgia and foresight. His reflections on books and technology emphasize complementarity rather than conflict: “The birth of a new technology need not mean the death of an earlier one: The invention of photography did not eliminate painting, it renewed it, and the screen and the codex can feed off each other and coexist amicably on the same reader’s desk.”

And, it may be that electronic technology is even more fragile than books. “There may come a new technique of collecting information next to which the Web will seem to us habitual and homely in its vastness,” Manguel writes, “like the aged buildings that once lodged the national libraries in Paris and Buenos Aires, Beyrouth and Salamanca, London and Seoul.”

In a ritual repeated nearly every weekend for the past decade here in Colombia’s war-weary Caribbean hinterland, Luis Soriano gathered his two donkeys, Alfa and Beto, in front of his home on a recent Saturday afternoon. Sweating already under the unforgiving sun, he strapped pouches with the word “Biblioburro” painted in blue letters to the donkeys’ backs and loaded them with an eclectic cargo of books destined for people living in the small villages beyond. His choices included “Anaconda,” the animal fable by the Uruguayan writer Horacio Quiroga that evokes Kipling’s “Jungle Book”; some Time-Life picture books (on Scandinavia, Japan and the Antilles); and the Dictionary of the Royal Academy of the Spanish Language.

“I started out with 70 books, and now I have a collection of more than 4,800,” said Mr. Soriano, 36, a primary school teacher who lives in a small house here with his wife and three children, with books piled to the ceilings. “This began as a necessity; then it became an obligation; and after that a custom,” he explained, squinting at the hills undulating into the horizon. “Now,” he said, “it is an institution.”

A whimsical riff on the bookmobile, Mr. Soriano’s Biblioburro is a small institution: one man and two donkeys. He created it out of the simple belief that the act of taking books to people who do not have them can somehow improve this impoverished region, and perhaps Colombia.

This may be the funniest and best-smelling work of profound lexicographical slang-scholarship ever published. Some may respect the hint of Elmer’s glue in recent printings of Partridge’s Dictionary of Slang and Unconventional English (8th ed.), or the faint traces of burlap and cocoa-bean that linger deep in The Oxford Dictionary of Modern Slang, or even the fume of indoor swimming-pool that clings to the paper-bound decolletage of Slang!: The Topic-By-Topic Dictionary of Contemporary American Lingoes. But a single deep draught of J. E. Lighter’s magnificent Historical Dictionary of American Slang (volume I, A-G) is a higher order of experience: it smells like a high-ceilinged bare room freshly painted white - clean and sunlit, full of reverberative promise and proud of its mitered corners, although with a mildly intoxicating or hyperventilational ‘finish’…

Robert Blackson is a trailblazer in the nascent field of conceptual scent art. He recently curated an exhibition at the Reg Vardy Gallery in Sunderland, England, that took viewers through fourteen significant points in time and space using only the olfactory sense.

The concept, according to Blackson, came from reading Eric Schlosser’s “Fast Food Nation.” The book mentions how food corporations can use artificial chemicals to engineer smells and tastes that replicate virtually any substance. With this in mind, Blackson tasked perfumers, chemists, botanists and even a NASA scientist to engineer smells that most humans might never experience. Scents created include everything from long extinct plants to the fragrance immediately following an atomic bomb explosion. They even recreated the smell of the surface of the Sun, which scientists approximated by using the scents of seven earth metals heated to their melting point.

“If There Ever Was” is the companion book to the art exhibit. It features paper inserts that correspond to the exhibit smells, all manifested through scratch-and-sniff technology. That way, you can smell the putrid odor of Russian gym socks on the Mir space station without having to leave the comfort of your home. “If There Ever Was” costs $25 in the Cornerhouse store.

via Fed By Birds

The inclination to read a huge Victorian novel, the capacity to untangle a metaphor in a line of verse, the desire to study and emulate a distant historical figure, the urge to ponder a concept such as Heidegger’s ontic-ontological difference over and over and around and around until it breaks through as a transformative insight — those dispositions melt away with every 100 hours of browsing, blogging, IMing, Twittering, and Facebooking. The shape and tempo of online texts differ so much from academic texts that e-learning initiatives in college classrooms can’t bridge them. Screen reading is a mind-set, and we should accept its variance from academic thinking. [Jakob] Nielsen concisely outlines the difference: “I continue to believe in the linear, author-driven narrative for educational purposes. I just don’t believe the Web is optimal for delivering this experience. Instead, let’s praise old narrative forms like books and sitting around a flickering campfire — or its modern-day counterpart, the PowerPoint projector,” he says. “We should accept that the Web is too fast-paced for big-picture learning. No problem; we have other media, and each has its strengths. At the same time, the Web is perfect for narrow, just-in-time learning of information nuggets — so long as the learner already has the conceptual framework in place to make sense of the facts.”

So let’s restrain the digitizing of all liberal-arts classrooms. More than that, given the tidal wave of technology in young people’s lives, let’s frame a number of classrooms and courses as slow-reading (and slow-writing) spaces. Digital technology has become an imperial force, and it should meet more antagonists. Educators must keep a portion of the undergraduate experience disconnected, unplugged, and logged off.

Marilynne Robinson is in a category by herself, and that category is both fully staffed and up to any project. I hope this is gratuitous, but if you haven’t read the essays in The Death of Adam, neither sleep nor eat till you have remedied the oversight. Her first novel Housekeeping is what I think a book should be. And now writing in Home of the same people in the same time and place as in her Pulitzer Prize-winning novel Gilead, everything is different. These two books could not be less alike. And just because she can and perhaps must, Robinson has pages and pages of dialogue about theology here, people sitting on the porch as evening falls, discussing and dissecting the particulars. The reader slows his pace, he doesn’t want to miss a word. Theology as conversation. She’s pulled off the impossible. (I know whereof I speak.)

In all her work we have the writer as magician. She’s making a concoction of her own invention, and if she doesn’t know if it will turn the one who drinks it into a fairy princess or blow the place to smithereens, well, those are risks she is prepared to take on our behalf. Perhaps that hints at her distinctive. She has been the sort of reader in her life who knows the possibility of writing. She takes nothing lightly, but there is lilt and charm for all of that. She can be light precisely because she knows the stakes are high, because she has cared enough to take the measure of the thing. And, she has the requisite humility to say, “There are things worth believing.”

In Bonn, Germany, I noticed a bookcase full of books in the public park where I run, with a young woman removing one book and returning another. These are used books that make up essentially a free voluntary lending library.

Would this cabinet last undamaged in a U.S. city one day? I doubt it. Similar things exist elsewhere — such as outdoor vending machines for DVD’s in Kyoto, Japan. Both of these indicate a certain level of mutual trust in the population and a certain level of civility; both reduce the transactions costs of daily living: easier access to books in one case, 24-hour DVD availability in the other.

Mutual trust is important in reducing transactions costs, and this aspect of culture has been viewed by economists as helping to determine some economic outcomes. (Although how different levels of trust arise has not been considered by the mostly macroeconomists who worry about this; it’s creating trust that seems to me to be the central issue.)

How many other examples like the books and the DVD’s are there in foreign countries that we don’t see at home?

When I think about it, my ability to “read deeply and without distraction” is not impaired at all when it comes to 9,000 word articles in Harper’s or The Atlantic on, say, trends in urban crime, thick with policy analysis and statistics, or for that matter, “Is Google Making us Stupid?” It’s just when I try to read Proust, or heaven forbid, JR by William Gaddis—a novel that I greatly anticipated reading, but which quickly became a coaster for the glass of water on my bedside table.

A more important question, I think, is why our brains now seem to better tolerate nonfiction. Regarding Proust in particular, Carr’s argument is, for me, especially ironic: The way that I have found to actually read those long complex sentences is, in fact, to skim them—to ride along on the surface from one detailed, beautiful image of village life to another, without trying to unpack them too literally or rationally.

A collection of books, compiled by Rex, by people who spent a year doing something and then wrote a book about it. Topics include competitive eating, not shopping, and reading the OED.

Although more than three decades have now passed since the winter of 1974, when unbound, hand-typed, samizdat manuscripts of Alexander Solzhenitsyn’s Gulag Archipelago first began circulating around what used to be the Soviet Union, the emotions they stirred remain today. Usually, readers were given only 24 hours to finish the lengthy manuscript—the first historical account of the Soviet concentration camp system—before it had to be passed on to the next person. That meant spending an entire day and a whole night absorbed in Solzhenitsyn’s sometimes eloquent, sometimes angry prose—not an experience anyone was likely to forget.

Members of that first generation of readers remember who gave the book to them, who else knew about it, and to whom they passed it on. They remember the stories that affected them most—the tales of small children in the camps, or of informers, or of camp guards. They remember what the book felt like—the blurry, mimeographed text, the dog-eared paper, the dim glow of the lamp switched on late at night—and with whom they later discussed it.

Talkative barber to customer: “How shall I cut your hair?” Customer: “In silence.”

Bada-bing.

This knee-slapper comes from “Philogelos,” or “Laughter-Lover,” a Greek joke book, probably compiled in the fourth or fifth century A.D. Its 264 entries amount to an index of classical humor, with can’t-miss material on such figures of fun as the miser, the drunk, the sex-starved woman and the man with bad breath.

Let us not forget the “skolastikos,” or egghead: “An egghead was on a sea voyage when a big storm blew up, causing his slaves to weep in terror. ‘Don’t cry,’ he consoled them, ‘I have freed you all in my will.’”

Bada-boom.

For our readers who are unfamiliar with Room to Read, can you explain what it is?
We do three things: We build schools. We establish multilingual libraries and fill them with thousands of books. And we provide long term scholarships for girls because girls are often left out of the education system. Basically, we’re a group that is committed to reaching 10 million kids across the world with the life-long gift of education. In education lies the key to self sufficiency—and the best long term ticket out of poverty.

What does a $20 Donation do for Room to Read?
This is a perfect price point. Twenty dollars is sufficient to sponsor a girl’s scholarship for one month. We can also print 20 local-language children books in languages that have never really had children’s books before. It’s one of the reasons there’s such an illiteracy problem in the developing world—there’s just no children’s book industry.