Paperback vs. ebook

As many of you know, I am deeply interested in ways that developments in digital technology change our relationship to traditional cultural values, especially when it comes to the digital’s impact on reading, the cultural transmission of knowledge, and those mainstays of humanistic thought: books. Don’t get me wrong. I’m no cheerleader for all things digital. Sometimes, in the midst of hyperventilating digitalistas, I find my self playing the role of the skeptic. Nonetheless, it is pretty clear that there is a future for the book in digital environments.

All that is a way of introducing a curiosity I have fostered since the very first idea of publishing The Outspokin’ Cyclist: would the book be more popular as a paperback or ebook? Amazon’s Author Central gives authors unprecedented access to sales information about their books, and the geek in me anxiously set up my account in the days following the book’s release. Now that 2011 has come to a close, I have a reasonable spectrum of data to look back at.

A few caveats. Amazon’s Author Central graphs and figures report Nielsen BookScan data as well as Amazon’s own tracking.  This means that Amazon can report Amazon sales in real time but sales from bookstores only as often as those bookstores report sales. For most places, this is weekly. So, while there seems to be a pattern of weekend sales spikes, we have to interpret those spikes with a grain of salt. Another caveat is that when it comes to ebook sales, Amazon reports only Kindle sales. I don’t have a centralized method for tracking sales of epub versions.

Paperback sales
Author Central, paperback sales

Kindle sales
Author Central, Kindle sales

So, a few conclusions after looking at the graphs provided by Amazon: first, the paperback outsold the Kindle version more than 2:1 in 2011. Second, something we can see from the sales-rank graphs is that the Kindle consistently ranks higher than the paperback (difficult, if not impossible, to see in these small images. The thing to keep in mind is that each horizontal line marks a 100,000 place jump.). This is likely due to the fact that the set of books available on the Kindle is much smaller than the set of books available in print, and it is therefore easier to achieve a higher relative ranking. But the third thing I take away from these reports is that sales of the Kindle version appear to be increasing, while sales of the paperback appear to remain somewhat static (if not in slight decline). I wonder, then, which will have the longer shelf life.

 

Crescent Magazine

Thanks to Taft Matney for this note about The Outspokin’ Cyclist in the new Crescent magazine. “As South Carolina’s larger cities work to make traffic flow more friendly and attractive for bicycles, Phillip Barron’s new book offers itself as a cyclist’s encouraging companion,” begins the brief review. If you have not yet checked out Crescent, do so; it’s a great new e-zine covering news and culture from the Palmetto (and crescent) State.

The Outspokin' Cyclist featured in Crescent Magazine

 

The Outspokin’ Cyclist, Kindle edition on sale

Amazon’s knocked the price of the Kindle edition down to $5.38. I didn’t know anything about this until I saw the new price on their website. Their loss is your gain.

The Outspokin' Cyclist, Kindle editionThe Outspokin' Cyclist, Kindle edition

Let me know if you pick up a copy of The Outspokin’ Cyclist this holiday season for the cyclist in your family.

 

Tape and other poems

Lately, I have been writing more poetry than prose. Working at the National Humanities Center, I had the opportunity to meet and be influenced by some extraordinary poets, like Piotr Sommer, Mary Kinze, and Rachel Blau DuPlessis. In the years since meeting each of them, the impression they left me with is that poetry is more accessible than I used to think it. And more meaningful. The opportunity to meditate on a moment, to express an idea in only as many words as necessary – these are gifts of language, and lately I have been finding satisfaction writing such meditations in verse.

I’m still looking for my own poetry community, but the recent (and excellent) interview with Gary Snyder in BOOM helps me narrow my search a little. If his categories even hint at accuracy, admittedly painted in broad strokes, then I see myself as more a west coast poet than east coast poet. Still, writing poems is one thing; subjecting them to the judgment of editors of poetry journals is another. And having some withstand that scrutiny, well, that is something humbling.

I have a poem — “Tape” — in the new issue of The Yolo Crow. If you pick up a copy in Davis or online (Vol. 23), please tell me what you think. And in the last few months I also published another in two parts in two separate places. “Sisyphean S-curve” appears in both The Scrambler (Part I) and Hinchas de Poesia (Part II). Check out the rest of the fine writing and art work while you’re visiting these two spaces.

 

epub now available

The Outspokin’ Cyclist is now available in epub. You can buy it from Goodreads for $6.99 (same price as the Kindle version over at Amazon). The epub version will work on iPads and iPhones (through the iBooks app) as well as dedicated ereaders like the Sony Reader, Barnes and Noble Nook, Kobo, and others. But to make the best use of the Goodreads website, I need some reviews. See below? None yet, but they will show up right there when a new review pops up. Anyone?

 

The Outspokin’ Cyclist – the book

I am a cyclist.

To say as much sounds strange to me. Not because it isn’t true, but because it is true. Riding a bicycle — for transportation, for errands, for joy — is something I do without thinking a whole lot about it. Pedaling is such a part of my identity that to call it out in the utterance “I am a cyclist” is to call attention to the idea that it could be otherwise. To say “I am a cyclist” when I choose to pedal a bicycle to work, to the grocery store, and along trails in the woods is akin to saying “I am a breather” or “I am someone who eats.” Both are true, but both are also trivially true. For either to be otherwise would convey that I am no longer alive. And once, I came close to knowing what it would be like not to be a cyclist.

In March 2008, I had a mountain bike accident that left me nearly unable to ride a bicycle…

The Outspokin' Cyclist, by Phillip Barron

So begins the preface to a new book gathering some of the columns I wrote for The Herald Sun between 2004 and 2008. Along with photography and a handful of writings on cycling previously published elsewhere, The Outspokin’ Cyclist offers a glimpse of what a newspaper and a city can do (and did) to support a growing bicycling community.

In 2010, my brother asked me what I thought about compiling some of my favorite columns into a book. At the time, he was starting up a new publishing house, Avenida Books. By reducing the costs of production and expanding the reach of distribution, new digital publishing tools are revolutionizing the print industry. I have been fascinated by this democratizing effect since the Internet’s early days, experimenting with blogging here at nicomachus.net since 2003 and managing an online journal for the National Humanities Center for the final two years I worked there. So when Andrew asked me whether I wanted to learn more about book publishing first-hand, I couldn’t pass up the opportunity to see for myself what it took to contribute an edition that would inspire public discussion and private reflection, to paraphrase Avenida Books’ motto.

The book covers topics such as the role bicycles played in women’s liberation, whether mountain bikers can call themselves environmentalists, and why it matters whether Tour de France competitors use drugs. It also offers tips on how to fit cycling into your everyday life.

To order a copy of the book, follow the link below the version you want to buy.

Paperback mobi (Kindle) epub (Nook, Kobo, iPad,
iPhone, Sony Reader)

If you’re a bookstore and you would like to carry a copy, please get in touch with me at pbarronATgmailDOTcom or Avenida Books at info@avenidabooks.com.

 

Children of the Outer Dark: The Poetry of Christopher Dewdney

Children of the Outer Dark (LP)Children of the Outer Dark by Christopher Dewdney

My rating: 4 of 5 stars

Not often is poetry both easy to read and insightful. Christopher Dewdney is not your common poet. He writes as perceptively and carefully as an autodidact. Yet, he also writes on topics as complex as consciousness and cloud chambers.

The pretentiousness, distant language and tone of the editor’s (Karl E. Jirgens’s) introduction are out of step with both the accessibility of Dewdney’s poetry and the purpose of the series into which this volume falls. The poems selected for this collection span Dewdney’s career and showcase his variety of interests, both scientific and aesthetic.

Something odd: my epub copy has a book cover reading “Children of the Further Dark,” and for a few moments, I was unsure of the actual title of the book.

View all my reviews

 

Dropbox is an academic’s best friend

Have you ever been writing a paper, working on an article, or organizing a book project — for example — at home, but then need to jot down an idea or insert a phrase of perfectly crafted language while you’re at work?

Or, have you ever started working on a paper on your laptop only to continue it on your desktop, then finish the editing back on your laptop? Most likely, you’ve had an experience like this, and the back-and-forth exchange of drafts can be maddening. If so, you have run into the problem of file synchronization. Dropbox is the solution, but I will get to that in a second.

How do you get your drafts from one computer to another? Many of the scholars with whom I have worked have used one of two methods (or both): USB key drives or email. And both have limitations. If you rely on a USB key drive (thumb drive, pen drive, USB stick, call it what you want), then you have to remember to save a copy of the latest version of your paper on the drive. Right there, your draft is already messy, and here’s why — you saved a copy on your thumb drive. And now you have at least two copies. It’s more likely that you have another copy on your other computer too, the one to which you’re planning to take the USB drive next. It’s not difficult to imagine problems with having multiple copies of a single document. Every time you make an edit, add a sentence, revise a draft, the copies are out of sync.

You could solve this by having just one copy of your draft, the copy that’s on your USB drive.  But, I recommend that you do not try this. One good static shock to the USB drive, and it’s a blank slate. Besides, a typical USB drive’s small size is both its strength and its weakness. Portable, it is also as easy to forget as it is to lose, not to mention easy to steal. You don’t want the only working copy of your next article to live in such a precarious environment.

Or, if you email your drafts back and forth, you have the problem of endlessly multiplying drafts. Every email attachment in a chain of emails sent to yourself has an iteration of your writing. And unless you have good email habits, it is deceptively easy (especially using an email client such Microsoft Office) to double-click the Word Doc icon in the email, opening the document unwittingly from a temporary folder, and working in an ephemeral environment that, once you close the document, disappears. None of the changes you make will be saved in the document that’s attached to your email, even though the working environment’s false sense of security stems from its familiar look and feel.

What you need is a folder that lives in two places: on both of your computers. This magic folder would be a place where, when you save a document, that same document with all of its current revisions automatically appears on your other computer as well. That way, you could write at home in the morning, saving your draft before heading in to the office. Then, after class and during dormant office hours, you fire up your office desktop, and look in that folder — there is your latest draft. Open it with your favorite writing program (Word, Pages, Scrivener, etc) and keep on working. Save it before you head out the door, bound for home. Later that night, when you steal a few moments to add some phrases you’ve mulled over, you open up your laptop and open the document from the magic folder; you’re right where you left off.

Dropbox is this magic folder.

Dropbox is a program you download and install on your computer, creating an account that you link to your email address. When Dropbox installs, it creates a folder in your computer. By default, it makes a folder called Dropbox in your My Documents folder (on Windows) or in your user folder list (on a Mac). Whatever you put in this folder is automatically saved to the slice of server space that Dropbox reserves for you based on your email address (and kept secure with the password you created). The magic happens once you install Dropbox on the second computer and log in using the account credentials you just created. Wait a few moments (depending on the speed of your internet connection and how many files you put in your Dropbox folder), and your files start appearing in the folder, ready to use.

From this point on, Dropbox will keep your files in sync. Newer versions of the files in your Dropbox folder (i.e. Every time you save a document that resides in the folder) are uploaded to Dropbox’s online space, which are then downloaded to your other computer’s Dropbox folder. You don’t have to do anything.

It is helpful to remember that Dropbox needs your computer to be online in order to sync properly, but that doesn’t mean that you need to be online to access the files in your Dropbox folder. If you work on a file while off-line, using your laptop to edit an article while outdoors or mid-flight for example, then Dropbox will simply sync your changes the next time you establish an internet connection.

Dropbox is platform agnostic, meaning that it doesn’t matter whether you use a Mac, a PC, or a Linux computer. There is a Dropbox version for you, and you can sync files between the different types of computers. Dropbox builds on this idea and seems to make your work computer agnostic. That is, it doesn’t matter whether you are working on your home computer or your office computer, your laptop or your desktop. Dropbox is also file agnostic in the sense that it doesn’t care whether the files you save in your Dropbox folder are Word documents or Pages documents, jpgs or mp3s, video files or EndNote files. As long as the total size of the files in your Dropbox folder does not exceed your space limit, Dropbox will keep them in sync across your two (or more, if you have more) computers.

Dropbox Pricing

Dropbox gives you 2GB of free space to start. If all you are using it for is syncing your writings, and your documents don’t have images embedded in them, then 2GB should be plenty of room. If you need more space, you have two options. You can purchase more: $10 per month for 50GB. Or, you can invite your friends to use Dropbox. If they sign up based on your recommendation (following a personalized link that you give them), then Dropbox gives you an additional 500MB of space per person. You can earn up to 16GB of free space this way.

Dropbox solves something that has long been an annoying problem for scholars. In addition to being unreliable, email and USB drives are inefficient ways of keeping your documents in sync. They’re inefficient in that each method has idiosyncratic baggage. You have to remember to move your email attachments into a regular folder before opening them; otherwise, you risk working within that impermanent “Temp” folder that saves nothing but frustrates everything. Or, you have to remember to carry your USB drive, to open the latest version from it, to save a copy on your computer (for security beyond the USB drive), and then to save a copy back to your USB drive, then start all over again on the next computer.

I don’t know about you, but the less I have to remember about how all this works, the more mental space I reserve for working on important things — like my work. Spending less time making things work right and more time working within an intuitive digital environment leads to more productivity.

Dropbox works the way you want any utility to work: in the background, requiring minimal set up and little-to-no maintenance.

 

Please Don’t Involve Fellow Passengers In Schemes To Extort Disability Funds

DINING CAR AHEAD… reads the scrolling red-LED marquis at the front of the Coachclass car.

The northbound Carolinian, Amtrak’s train 80, follows a corridor of sweet gum, pine, and mimosa between Durham and Washington, DC. Views from the diesel-driven iron horse alternate between lush greenery grown right up to the tracks and wide landscapes of irrigated fields nurturing unnaturally straight rows of commodity corn. Queen Anne’s Lace and honeysuckle flower over rusted barrels and tired sheds, at times competing with wild raspberry. “Alexander, turn that down,” the man beside me admonishes a pre-teen sitting in the row behind.

I have the aisle seat, and in the window seat is a man who started talking to me even before I finished stowing my backpack in the overhead compartment. He sees in suburban sprawl a Babylon of limitless greed and growth, of world-class furniture and more colleges per population than anywhere else in the world.

He complains of alligators swimming the streets of New Orleans while the NAACP met in Tampa, then somehow makes the connection to his theory that Ronald Reagan enlisted the Pope to help bring down the Soviet Union. Although he desires my full attention, I catch glimpses through the window of backyard camping and front porch good-byes.

“Dad, how do they turn the train around?,” Alexander asks.

“Three-point turn,” the man laughs hard at his own joke.

When the landscape levels and lily pads appear outside the window, he resumes theorizing.

“It’s not politically correct to call them swamps anymore, you know.” He doesn’t wait for me to answer. ‘You know’ is just something he says to be polite, to acknowledge that I am sitting next to him even if he will not let me talk. “They’re wetlands. You know, we call em wetlands to show respect for all the life out there. But really we don’t care about nature if tree farms are acceptable replacements for forests. As if deer and raccoons and squirrels wanted to live with trees all lined up in straight, pretty rows. If we still had a real sense of community, not one focused on consumerism, then we might…”

“Dad, Dad,” Alexander interrupts, “this is where we get off.”

“Oh,” the theorist quickly unplugs his cell phone, climbs over me, and charges down the aisle. I slide over to the window seat.

EXIT

Between the wetlands and the tree farms are post-industrial towns, variously preserving or ignoring turn of the century architecture. In the front yard of a brick ranch style house in eastern North Carolina, an elderly woman push-mows her lawn. In a few of the towns, the ranches face the railroad, with driveways crossing the tracks. In the smallest of towns, the ones at which our train neither stops for new passengers nor even slows, ornate Victorian houses, owned by someone who has forgotten how to paint (if owned by anyone at all) deteriorate before our eyes. They look as though they may not be standing the next time the train rolls by, yet they have been standing for more than a hundred years.

The smooth, always horizontal rails defy the uneven dipping and climbing topography. Walking paths worn in the grass wrap around the “No Trespassing” signs that separate town from railway-owned fishing holes. Rivers are not the blue ribbons of childhood geography class but spectrums of dull shades from light brown banks to deep green channels of lethargic water.

The Carolinian passes corn and soybean fields whose products grow more precious with every foot that the Mississippi River climbs and exponentially so with every levee it breaks through.

To hear Lyle Estill tell the story of our future, it won’t be long before the corn grown along these tracks will be used to make biodiesel to power the Carolinian along with Volkswagen turbo-diesels and John Deere tractors. British polemicist George Monbiot demurs, “the superior purchasing power of drivers in the rich world means that they will snatch food from people’s mouths. Run your car on virgin biofuel and other people will starve.”

RESTROOMS IN REAR OF CAR…

“I was getting $14.40 an hour, last time I got paid. Yes ma’am. I’m moving back home, back in with my parents, so that someone will be around when I fall and need help getting up.”

The con artist who now sits next to me uses one of her cell phones to file a claim for disability. She offers up the details of a cancer-and-lupus diagnosis to the bureaucrat on the other end of the phone, detailing hair loss and her doctor’s proclamation that she will no longer be able to work.

“Whassup brah. Did I get you out of bed? Yeah, I’m on my way back from North Carolina. Listen, do you think we can be out of there tomorrow? Like, did you clean yet? You know I’m not cleaning up Andrea’s shit.”

With the other phone, she firms up plans with a roommate to move into a new apartment in Alexandria, Virginia and finish her summer job loading boxes for Fed Ex.

PLEASE BE CONSIDERATE OF FELLOW PASSENGERS WHEN USING CELL PHONES…

She’s enrolled at NC State, Howard University, or George Washington, depending on who is on the other end of the phone. Her ailments are being cared for by doctors in Alexandria and Raleigh and the prayer list at her mother’s church’s. By the end of her conversations, my fellow Amtrak passengers and I know more more about her than we should know about any stranger, and yet really we don’t know anything at all. I imagine that I see, just a glint in their eyes, that they feel as complicit in something awry as I do.

PLEASE DON’T INVOLVE FELLOW PASSENGERS IN SCHEMES TO EXTORT DISABILITY FUNDS…

 

Piotr Sommer – Between Them

Originally published in the News of the National Humanities Center

Poetry, says Piotr Sommer (2004-05 Hurford Family Fellow at the National Humanities Center), is the “basic cognitive instrument” by which he measures life, “almost a way to deal with the misunderstandings and miscommunications of the world.”

Editor of the Warsaw-based journal Literatura na Swiecie, Sommer divides his time between writing poetry, writing about poetry, and translating Anglo-American poetry into his native Polish. Literatura na Swiecie gathers together foreign literature into Polish translations, most often but not always contemporary literature. Sommer translates the journal’s title as “somewhere between ‘Literature in the World’ and ‘World Literature.’” To Sommer, the “somewhere between” symbolizes that even simple cultural concepts do not translate comfortably.

Through Literatura na Swiecie, Sommer is responsible for introducing or reacquainting Polish readers with such luminaries as Jacques Derrida and John Cage. A 1986 issue of Literatura na Swiecie on the New York Poets has been cited as perhaps the single most influential collection of American poetry on the Polish literary community.

Sommer has published two books during his residence at the Center and is spending his fellowship working on two others. Continued (Wesleyan University Press, 2005), his first book-length collection of poetry translated into English, gathers poems from his previous Polish publications. Po Stykach (Slowo/Obraz Terytoria, 2005) is a collection of his essays on Polish and Anglo-American poetry and on the art of translation.

In Polish, Sommer explains, ‘po stykach’ is a “concise slangy phrase, so rich that I really cannot translate it into English in one phrase. It suggests doing something along delicate lines, which can be lines of contact or lines of argument. It contains the concept of borderlines as well. And also a sense of touch—in Polish, ‘styk’ means touch.”

His current projects include a book-length examination of the influence of twentieth-century American poets such as Frank O’Hara, John Ashbery, Robert Lowell, and Charles Reznikoff on contemporary poets in Poland. He’s also finishing a Polish-translation anthology of American poets he’s “been excited by in the last twenty years.”

A poet who writes and a poet who translates, he claims, are different people. “Writing poetry in your own language, you both control it and let it behave the way it wants to behave,” he explains. “You can allow it quite a bit of pleasure and freedom. You can even let it outpace you.” A translating poet, on the other hand, doesn’t want to give the foreign text a lesson, or correct the author’s voice. “You study the original, see what you can do with it, and find a way to bring things into your own language,” Sommer says.

When translating, he continues, “you must be prepared to take into account every single ingredient that works for the desired result in your language, to find the multiple levels of meaning, beginning with, let’s say, such a basic unit as the sentence.” Being careful, however, he cautions, “doesn’t exclude freedom in the new language, naturally, because the result still must be beautiful. And because the new language doesn’t have to—or sometimes cannot—behave like the original.”

It takes tremendous effort but also serendipity for a poem to translate well into another language, Sommer notes. Between double meanings and colloquial expressions, translating is a process that constantly asks the question, “How much can we stretch our syntax and still keep it beautiful in our language?” Finally, Sommer adds wistfully, a thoughtful translator also must be willing to accept that something beautiful in one language may not be possible in another.

UPDATE: Recordings of Piotr Sommer reading his own poetry in Polish and in English translation are now up at PennSound.