From Tom Gauld’s new postcard book ‘The Snooty Bookshop’. Order links here.
From Tom Gauld’s new postcard book ‘The Snooty Bookshop’. Order links here.
The new episodes of It’s Lit are finally making it to YouTube. In this episode, Lindsay Ellis discusses book covers.
It is interesting that everyone in the reading industry* talks about not judging a book by its cover. Yet the entire industry is built around judging books by their covers.
We have the publishers and their creative team designing covers to attract readers. We have the readers browsing the stores and picking something that catches their eye. There are plenty of statistics around showing the improved sales based upon book placement in stores, whether they are face out or not, and whether they are in big piles – which makes all sorts of subconscious suggestions to shopping readers.** All of these factors are about presenting us readers with the cover of the book in the hopes that we’ll be interested enough to buy it.
But don’t judge it by its cover!!
*I honestly think we should stop using the term publishing industry and refer to the end user instead. I think we lose sight of who matters at times.
**Online stores have similar sales statistics related to cover design. Indie authors will often talk about the success of changing covers and improving sales.
This month’s What’s the Difference? from Cinefix looks at one of the more blatantly different book adaptations: Verhoeven vs Heinlein’s Starship Troopers.
The first time I watched Starship Troopers all I saw was a cheesy B-grade action movie. This was also what many movie reviewers thought at the time. Many years later I finally read the book and it clicked.
Verhoeven’s film only made sense to me after I’d read the book as it is as much a critique of the material as it is an adaptation.
“I stopped after two chapters because it was so boring,” says Verhoeven of his attempts to read Heinlein’s opus. “It is really quite a bad book. I asked Ed Neumeier to tell me the story because I just couldn’t read the thing. It’s a very right-wing book. And with the movie we tried, and I think at least partially succeeded, in commenting on that at the same time. It would be eat your cake and have it. All the way through we were fighting with the fascism, the ultra-militarism. All the way through I wanted the audience to be asking, ‘Are these people crazy?’ Source
The cheesy propaganda segments riff on the heavy-handed philosophical lecturing Heinlein does. The proud militarism is given consequence by utilising Heinlein’s own references to disabled veterans and by showing horrible training injuries and battlefield scenes. The fascist elements are played up for farce in the uniforms and sequences mirroring actual Nazi propaganda films.
Michael Ironside asked, “Why are you doing a right-wing fascist movie?”
Verhoeven replied, “If I tell the world that a right-wing, fascist way of doing things doesn’t work, no one will listen to me. So I’m going to make a perfect fascist world: everyone is beautiful, everything is shiny, everything has big guns and fancy ships, but it’s only good for killing fucking Bugs!” Source
Now, I did actually enjoy the book. It is very interesting and many of the ideas were challengingly different. The portrayal of future warfare was, at the time, as imaginative as I’d come across. So Verhoeven’s reaction to satirise the book – one that Heinlein dashed out as an angry response to the US stopping nuclear tests – was probably overwrought by his childhood in the Nazi-occupied Netherlands. But if the movie adaptation had been faithful we’d probably have seen the worst elements of Heinlein’s ideas paraded around like something produced by the Ministry of Enlightenment.
Well, either that or a schlocky B-grade action movie about the military killing alien bugs.
Anyway, there was an interesting video essay from Just Write that I thought I’d share. It discusses the cyberpunk genre and how the aesthetic has lost its relevance.
I actually quite enjoyed the Netflix series Altered Carbon, based on Richard Morgan’s novel of the same name. There were some interesting comments about inequality and inherited wealth that is often overlooked in discussions about living longer. But I have to agree with the video’s comments about the cyberpunk aesthetic of the show being off.
Not that it didn’t fit, but that it didn’t feel that different from what we have now, as the video stated. How can we watch a troublesome/dystopian future that is essentially our now? These aesthetic elements then undermine much of the narrative comment by reminding us that many of the plot points have already happened. It is a little bit hard to have a cautionary tale of where we are headed in the future when we have already arrived at that point (e.g. wealth isn’t made but instead it tends to be inherited unless there is some sort of inheritance tax in play or dissipation – 1, 2, 3).
So does that mean that Mr Robot and other contemporary cyberpunk stories are the way forward for the genre? Are there other ways to update the genre? Do we need another Blade Runner movie?
Some things to ponder.
Lessons from the Screenplay. “Blade Runner — Constructing a Future Noir.”
Extra Credits. “The Witcher III: Wild Hunt – Best Detective Game Ever Made.” Taxi
Extra Credits. “William Gibson: The 80s Revolution.”
Abrams, Avi. Dark Roasted Blend. “Epic 1970s French Space Comic Art.”
Sterling, Bruce. “Mirrorshades: the cyberpunk anthology.” New York: Arbor House, 1986.
Walker-Emig, Paul. The Guardian. “Neon and corporate dystopias: why does cyberpunk refuse to move on?” October 16, 2018.
NAZARE, JOE. “MARLOWE IN MIRRORSHADES: THE CYBERPUNK (RE-) VISION OF CHANDLER.” Studies in the Novel, vol. 35, no. 3, 2003, pp. 383–404. JSTOR, JSTOR,
Karen Cadora. “Feminist Cyberpunk.” Science Fiction Studies, vol. 22, no. 3, 1995, pp. 357–372. JSTOR
Sponsler, Claire. “Beyond the Ruins: The Geopolitics of Urban Decay and Cybernetic Play.” Science Fiction Studies, vol. 20, no. 2, 1993, pp. 251–265. JSTOR
Nixon, Nicola. “Cyberpunk: Preparing the Ground for Revolution or Keeping the Boys Satisfied?” Science Fiction Studies, vol. 19, no. 2, 1992, pp. 219–235. JSTOR
Whalen, Terence. “The Future of a Commodity: Notes toward a Critique of Cyberpunk and the Information Age (L’Avenir D’une Marchandise: Notes Sur Cyberpunk Et L’Ere De L’Information).” Science Fiction Studies, vol. 19, no. 1, 1992, pp. 75–88. JSTOR
Senior, W. A. “Blade Runner and Cyberpunk Visions of Humanity.” Film Criticism, vol. 21, no. 1, 1996, pp. 1–12. JSTOR
Usher, Tom. Vice. “How ‘Akira’ Has Influenced All Your Favourite TV, Film and Music.”
Giles, Matthew. Vulture. “Taxi Driver, Girls, and 7 Other Big Influences on Mr. Robot.”
The United Federation of Charles. “What is Cyberpunk?”
The ‘Self-Made’ Myth: Our Hallucinating Rich by Sam Pizzigati
I have been a devoted Kindle user for my e-book reading addiction. Unfortunately, my Kindle has become lethargic and prone to wasting valuable reading time. I could buy a new Kindle or one of the competing e-reading devices, or I could turn to the devices I already have.
No, I’m not talking about the stack of unread paper books on my shelf, I’m talking about my phone and tablet. Although, I probably should reduce the size of that stack before they feel unloved and attempt to move house without me.
So, having decided to utilise my iPad, I plugged it into my Windows* machine, booted up iTunes, and discovered a decided lack of Books to transfer.
A tad hard to transfer books to my iPad when the Book category has been removed. Now, if I was still using a Mac the problem would be easily remedied, as iBooks has taken over the role of synching books to the iPad. But on a Windows machine, I can only really transfer my books from the store to my computer.
Try as I might, I couldn’t find an article explaining how to transfer books. So I did what every computer user does when something doesn’t work: I kept clicking until something happened. After replacing the CPU, I tried the sideloading technique some Apps utilise. You open iTunes to the place you want the file (Books) and then open a File Explorer window to the directory that contains the books you want.
As you can see in the screenshot, I’m transferring some Project Gutenberg books to my iPad. Just click and drag the files into the Books frame of iTunes and they will be copied. The transfer will begin once you hit sync.
Hopefully, this helps some other readers who want to transfer their e-books to their iPhone or iPad using a Windows machine. The same process works for adding books to other reading Apps, or other files to other Apps – I’ve added beta-manuscripts to the Kindle app this way.
*Yes, yes, deride Windows all you want. It works better than my broken Mac and Linux machines.
This time last year (2017) my family and I attended the book launch of the latest instalment in the Hairy Maclary (from Donaldson’s Dairy) series by Lynley Dodd. Hairy Maclary and his friends have been entertaining people, particularly younger people with an as yet undeveloped world-weariness, for 30 years. The latest book in the series is titled Scarface Claw, Hold Tight! and I’m left with some very important questions.
For those who aren’t aware, Scarface Claw is the toughest tomcat in the town where Hairy Maclary and his friends live. Which town this happens to be and the relative toughness of the other tomcats living there is not explored in any detail in the series, which could be regarded as an oversight. Scarface Claw has, on more than one occasion, threatened or utilised violence against the cats and dogs in town. This has seen scatters of paws and clatters of claws from Schnitzel von Krumm with a very low tum, Bitzer Maloney all skinny and bony, Muffin McClay like a bundle of hay, Bottomley Potts covered in spots, Hercules Morse as big as a horse, and Hairy Maclary from Donaldson’s Dairy.
Obviously, this nasty, violent, and abusive cat makes for an ideal protagonist in a children’s book. Scarface Claw, Hold Tight! marks the tomcat’s second outing as the hero.
This adventure sees our cranky and crotchety hero sunning himself on top of Tom’s car. Somehow, Tom manages to not see the rather large black tomcat sprawled on the roof of his red car and hurries off to somewhere very important – another detail unexplored by the narrative. Since this is the inciting incident of the story, you would expect it to be more believable. Are we to seriously believe that Tom doesn’t notice old Scarface? As we soon discover, literally everyone else in the town notices Scarface Claw clinging to the roof of the car, so either Tom should be required to acquire prescription lenses for driving or he knew Scarface Claw was there all along.
That Tom knowingly drove around town with a cat on his roof is not inconceivable. Scarface Claw has a long and infamous history, particularly amongst the resident town pets, so mistreatment of the tomcat may be a common occurrence. It may be that this mistreatment is what makes Scarface Claw the nasty cat he is. Maybe with extensive therapy, Scarface Claw could become a lovable and friendly cat who would be invited to Slinky Malinky’s house in a tail waving line. We can only hope.
We also have to question why everyone in town noticed Scarface Claw clinging to the roof and wanted to “rescue that cat”. Presumably, the townfolk recognised Scarface Claw, so either they are more kind and caring than Tom – plausible given my previous points about potential mistreatment – or they are starved for excitement such that waving a sock at a driver with a cat on his car roof would make it into a lifetime highlights list. But that doesn’t excuse the next issue.
I know that many animal lovers would support the use of police and fire and rescue for animal emergencies, but you have to question Constable Chrissie’s response. Did the Constable honestly have nothing better to do with her time than pull Tom over? What laws has he broken? If Tom has broken some laws, why wasn’t he charged with an offence? And why didn’t she call for a licensed animal controller, such as the Ranger, instead of relying on the ever conveniently helpful Miss Plum?* Does Constable Chrissie suspect that Tom is an abusive pet owner and is wanting to compile a list for a potential animal welfare case?**
There are so many questions left unanswered, so many details not covered, that I am left at a loose end. I can only hope that future books in the series will address these issues in some way.
*Miss Plum has a long habit of helping the town pets out of their adventurous mishaps. She seems to always conveniently arrive in the nick of time. A more suspicious person would suspect that something more sinister is at play here. Is Miss Plum stalking the town pets? Is she behind the pets’ misadventures? Hopefully, these questions will be addressed in later instalments in the series.
**Or at least intervene where possible to stop animal abuse events.***
***And it is possible that Constable Chrissie keeps an eye on Tom and his activities – possibly Miss Plum does as well – because she suspects Tom’s animal abuse may morph into something more serious. Best to catch a killer early.