Some exile

I’m sitting in my study, tidying up a draft, with Exile on Main Street by the Stones blasting out from the Tannoys and thinking this must be the best rock album ever recorded. Just thought you’d like to know

Kindle reborn

This morning’s Observer column.

The newest version of the Kindle e-reader is out. And guess what? “Due to strong customer demand,” says the Amazon website, “Kindle is temporarily sold out. Order now to reserve your place in the queue… orders placed today are expected to dispatch on or before 17 September.”

This is interesting, is it not? It’s not all that long ago, in the fevered run-up to the launch of the Apple iPad, that conventional wisdom held that the Kindle was a dead duck – roadkill for the iTunes/iBooks steamroller on the highway to the future. I mean to say, the Kindle was sooo clunky: you had to press buttons just to turn the page and how 1980s is that? With the iPad, you just swooshed your finger and – hey presto! – the page turned. Cool.

Then there was the impact of the iPad on publishers, who saw the Apple iBook store as a way of breaking Amazon’s stranglehold on sales – and, more important, the pricing – of ebooks. And so it came to pass that the Kindle was consigned to the role of brave but outdated pioneer. Amazon might have triggered the ebook revolution, but it would be Apple that would wind up running the show.

The problem with this kind of thinking is that it is based on an elementary schoolboy mistake, namely the assumption that, in a networked world, it is the hardware that matters most…

The world’s biggest coffee-table book

This is a terrific interview conducted by Robert Scoble with Jean-Marie Hullot, who was once CTO of NeXT and later played significant roles in Apple. The peg for the talk was the launch of Jean-Marie’s remarkable iPhone/iPad App, called Fotopedia Heritage, which is an endless stream of CreativeCommons images of UNESCO World Heritage sites wrapped up in an information stream.

The App itself is amazing (and freely downloadable from the Apps store), but the really significant thing about it is its hint at how our concept of ‘book’ will have to shift to adjust to the possibilities of this new technology. At one stage in the interview, Jean-Marie makes the point that what will determine whether a publisher succeeds in this new medium is whether he/she can master the software. He uses the analogy of Nokia in this context — great maker of hardware, but always an outsourcer of software. Then one day Apple — a master of software — appears on the scene, quickly picks up the easy stuff (the hardware design) and — Bingo! The moral is clear: publishers who think that their only role is to get passive content out the door in readable form aren’t going to cut it in the eBook world.

And while we’re on the subject of eBooks, I see that Apple has released an update to iWork that enables it to output in ePub format.

Actually, this is part of a big and interesting story. Up to now, print publishers have been able to stand by and watch the Net play disruptive havoc with the music and movie industries. Now, it’s their turn to feel the network’s disruptive blast. In that context, author’s agent Andrew ‘the Jackal’ Wylie’s audacious move to strike a deal directly with Amazon for his authors, bypassing their print publishers entirely, has really concentrated minds. As the Guardian observed:

Once upon a time publishers were the only ones who could find authors, edit manuscripts, print books and distribute them, but new technology from desktop computers to the internet has thrown the doors wide open. As marketing departments have gained the ascendancy over editorial, agents have moved centre stage, filtering submissions and polishing manuscripts. With the messy business of ink and trees and Transit vans receding, Wylie’s latest move is simply the logical next step. None of this will worry those publishers who have made a business out of finding the voices others haven’t spotted, but in the week when Amazon claimed that ebook sales passed those of hardbacks the questions are unavoidable: who needs big publishers? Are the interests of writers and readers best served by big publishers, or the Jackal?

And while we’re on the subject, my friend and colleague Michael Dales has a fascinating blog post about his experiments with Kindle and iBooks versions of Scott Pilgrim books.

Piping hot

Lovely Economist obit of Bill Millin, the man who invaded Normandy with bagpipes.

His playing had been planned as part of the operation. On commando training near Fort William he had struck up a friendship with Lord Lovat, the officer in charge of the 1st Special Service Brigade. Not that they had much in common. Mr Millin was short, with a broad cheeky face, the son of a Glasgow policeman; his sharpest childhood memory was of being one of the “poor”, sleeping on deck, on the family’s return in 1925 from Canada to Scotland. Lovat was tall, lanky, outrageously handsome and romantic, with a castle towering above the river at Beauly, near Inverness. He had asked Mr Millin to be his personal piper: not a feudal but a military arrangement. The War Office in London now forbade pipers to play in battle, but Mr Millin and Lord Lovat, as Scots, plotted rebellion. In this “greatest invasion in history”, Lovat wanted pipes to lead the way.

He was ordering now, as they waded up Sword Beach, in that drawly voice of his: “Give us a tune, piper.” Mr Millin thought him a mad bastard. The man beside him, on the point of jumping off, had taken a bullet in the face and gone under. But there was Lovat, strolling through fire quite calmly in his aristocratic way, allegedly wearing a monogrammed white pullover under his jacket and carrying an ancient Winchester rifle, so if he was mad Mr Millin thought he might as well be ridiculous too, and struck up “Hielan’ Laddie”. Lovat approved it with a thumbs-up, and asked for “The Road to the Isles”. Mr Millin inquired, half-joking, whether he should walk up and down in the traditional way of pipers. “Oh, yes. That would be lovely.”

Three times therefore he walked up and down at the edge of the sea. He remembered the sand shaking under his feet from mortar fire and the dead bodies rolling in the surf, against his legs. For the rest of the day, whenever required, he played. He piped the advancing troops along the raised road by the Caen canal, seeing the flashes from the rifle of a sniper about 100 yards ahead, noticing only after a minute or so that everyone behind him had hit the deck in the dust. When Lovat had dispatched the sniper, he struck up again. He led the company down the main street of Bénouville playing “Blue Bonnets over the Border”, refusing to run when the commander of 6 Commando urged him to; pipers walked as they played.

Millin also played at Lovat’s funeral in 1995.

How to take holiday snaps

The Guardian had a nice essay by Stuart Jeffries on the emotional power of holiday snaps and followed it with some advice from Magnum photographer Martin Parr.

Most family photo albums are a form of propaganda, where the family looks perfect and everyone is smiling: we try to create fabrications about who we are. But if you’re doing a portrait of someone, ask them not to smile. You will get a much more dignified, interesting portrait, and it won’t look like a family snap.

Don’t be scared of photographing a storm-out, crying fit or strop. The instinct is to capture people only when they are smiling around a birthday cake or at a wedding, but never during an argument or funeral. On holiday, of course photograph the daytrips and good times, but make sure you document when everything isn’t going to plan as well.

You have to overcome the feeling that it isn’t the right time to take a photograph if you want to get away from this version of the perfect, harmonious family. I would argue that the more valuable document is the honest one.

One of the things that photographs are very good at doing is showing change. So take a picture before you go on holiday and when you have just got back. Similarly you should take before-and-after shots when you redecorate your bathroom, or if you replace your car.

And

When you are away, why not record all of the food that you eat? If someone has spent a lot of time cooking a meal, or if you’re going out for a treat, photograph the food. You could make a series of each breakfast, lunch and dinner that you ate. That would be fascinating.

Photograph the caravan, guest house, tent – wherever you are staying. Think of yourself as a documentary photographer; up the ante and take yourself more seriously.

Parr thinks that we should also print our pictures, and I suspect he’s right. “We are in danger”, he says,

of having a whole generation – and this will continue into the future – that has no family albums, because people just leave them on their computer, and then suddenly they will be deleted. You have to print them and put them in an album or a box, otherwise they could be lost. And write captions. You might think you are going to remember what is happening in a picture, but you probably won’t in 10 years’ time.

The lost decade

Interesting, thoughtful talk by Umair Haque.

The real crisis isn’t about bankers, bonuses, and bailouts — it’s about an economy that’s geared to create thin value; value that’s artificial, meaningless, and often, actually worth little, in human terms. So the real challenge isn’t about eking out another penny of profit by laying off more another hundred people, offshoring with an even greater ferocity, crushing your fiercest rival more savagely, or churning out more lowest-common-denominator “product.” It’s about learning to create thicker value: authentic value, that endures, resonates, and multiplies. Unless, of course, you think you can survive another lost decade.

Remembering Frank

I wrote a small tribute to Frank Kermode for today’s Observer.

Ever since Tuesday, a movie has been running on a continuous loop in my mind. In it, I am driving down Grange Road in Cambridge, passing Selwyn College’s gloomy front range and turning right into Pinehurst, the enclave of classy apartment blocks sometimes known as “life’s departure lounge” because it’s where retired dons go after they’ve downsized. I park outside the most upmarket block and ring the bell. The door opens into a discreetly carpeted foyer and the lift whooshes me upwards. Then it stops and the door opens. And there is Frank, smiling, with pipe in hand and twinkle in eye. “Come in, come in,” he says, and we settle in his booklined sitting-room with the view over Selwyn Gardens to drink, smoke and gossip. And each time this happens, I cannot believe my luck, because I spent a good deal of my earlier life in awe of the man who is now – apparently – treating me as an equal…

The ‘Death-of-the-Web’ meme rides again

This morning’s Observer column.

It’s possible, of course, that the Anderson-Wolff scare story was the product of an innocent mistake. But let us, for a moment, refuse them the benefit of the doubt. The core of their argument is that the popularity of apps as on iPhone and Android phones signals the death knell of the web. The marketplace has spoken, they write. When it comes to the applications that run on top of the net, people are starting to choose quality of service. We want TweetDeck to organise our Twitter feeds because it s more convenient than the Twitter web page. The Google Maps mobile app on our phone works better in the car than the Google Maps website on our laptop. And we’d rather lean back to read books with our Kindle or iPad app than lean forward to peer at our desktop browser.

That’s the message. Now, who is the messenger? Answer: Condé Nast, the publishing conglomerate that owns Wired — as well as the New Yorker, GQ and Vanity Fair. The web has posed a serious threat to their business model as it has to almost all print publishers because they have thus far failed to find a way to get people to pay serious money for online content.

The arrival of iPhone and, later, iPad apps was the first good news that magazine conglomerates had received in a decade. Why? Because, in contrast to the Wild West Web, apps are tightly controlled by Apple and consumers willingly pay for them. As a result, print publishers have fallen on the apps idea like ravening wolves…