Di Leo types:
Many concerns about the intellectual quality of digital publications are valid, and digital content can be easier to plagiarize. But those concerns are historical, not permanent. There is nothing intrinsically inferior about spreading knowledge on a screen rather than on a printed page, and plagiarism is an ethical issue, not a material one. Words may look better in print, and a book may feel better in your hands than a Kindle or an iPad, but the words are the same.Most of which is true, but I’m not sure it’s wise to dismiss so brusquely the *feel* of a book. Even in academia, where books are often read to a purpose other than pleasure, they still provoke an emotional response – a relationship, even – that transcends the mere process of getting facts into the reader’s brain. The words may be the same, but that’s not always the point.
Moreover, while the potential for digital books to enhance the reading experience is obvious, I’m not that sure the punters will actually go for it. There have been many innovative experiments in digital publishing, such as Geoff Ryman’s 253, a hypertext novel about a Tube journey, and Train Man (Densha Otoko), which began life on a chat forum, but neither of them achieved anything more than a niche reputation until they were remastered in more conventional formats (Train Man became not only a book, but also a TV show and a movie). Di Leo would argue that this was the fault of critics and consumers, who failed to seize the opportunities that the digital versions offered. And this hesitancy persists.
I’ve always been a big fan of footnotes in dead-tree books, and when, over a decade ago, I first encountered the hypertext version of The Waste Land – which offered annotations to Eliot’s own annotations – I squealed with delight. This, surely, was the way forward for writers and publishers: not a reference was too obscure, not a word too difficult, because anything could be explained, elucidated, glossed, translated, without breaking the flow of the text. I think I’ve discussed before some of the other books that might benefit from such treatment (Nabokov’s Pale Fire; Dave Eggers’ A Heartbreaking Work of Staggering Genius; BS Johnson’s The Unfortunates; Georges Perec’s Life: A User’s Manual; Flann O’Brien’s The Third Policeman) but there seems to have been very little action on this front. The received wisdom is that today’s multi-tasking youth, who can simultaneously play Grand Theft Auto, message their friends, watch The Inbetweeners and roll aggressively towards policemen will have no problem flitting between text and notes. But few, it seems, want a book that’s anything other than linear in structure. I’ve been informed in no uncertain terms by several publishers that readers (of print books) find too many notes distracting, and that they should be a) reduced in number and b) sent to the back of the text. I can’t see that they’ll be any more keen to have their leisure reading interrupted by hyperlinks.
Although I adore conventional books, I don’t object to their being challenged by digital versions: as Di Leo says, the words are the same. But it would be something of a pity if the only reason e-books succeed is because they’re cheaper to distribute, and easier to take on holiday, and nobody wants to take advantage of their other possibilities.
