I love books. Love them as objects. I want to hold them, sometimes mark them up with a pen, dog-ear the pages. I like to look at them on my shelves at home. I don’t own a Kindle or a Nook but I don’t have any beef with them either. For some people they make all the sense in the world. I think you can like both formats. But this piece by Tim Parks in the New York Review of Books gave me a new appreciation for E-books:
Literature is made up of words. They can be spoken or written. If spoken, volume and speed and accent can vary. If written, the words can appear in this or that type-face on any material, with any impagination. Joyce is as much Joyce in Baskerville as in Times New Roman. And we can read these words at any speed, interrupt our reading as frequently as we choose. Somebody who reads Ulysses in two weeks hasn’t read it any more or less than someone who reads it in three months, or three years.
Only the sequence of the words must remain inviolate. We can change everything about a text but the words themselves and the order they appear in. The literary experience does not lie in any one moment of perception, or any physical contact with a material object (even less in the “possession” of handsome masterpieces lined up on our bookshelves), but in the movement of the mind through a sequence of words from beginning to end. More than any other art form it is pure mental material, as close as one can get to thought itself. Memorized, a poem is as surely a piece of literature in our minds as it is on the page. If we say the words in sequence, even silently without opening our mouths, then we have had a literary experience—perhaps even a more intense one than a reading from the page. It’s true that our owning the object—War and Peace or Moby Dick—and organizing these and other classics according to chronology and nation of origin will give us an illusion of control: as if we had now “acquired” and “digested” and “placed” a piece of culture. Perhaps that is what people are attached to. But in fact we all know that once the sequence of words is over and the book closed what actually remains in our possession is very difficult, wonderfully difficult to pin down, a richness (or sometimes irritation) that has nothing to do with the heavy block of paper on our shelves.
The e-book, by eliminating all variations in the appearance and weight of the material object we hold in our hand and by discouraging anything but our focus on where we are in the sequence of words (the page once read disappears, the page to come has yet to appear) would seem to bring us closer than the paper book to the essence of the literary experience. Certainly it offers a more austere, direct engagement with the words appearing before us and disappearing behind us than the traditional paper book offers, giving no fetishistic gratification as we cover our walls with famous names. It is as if one had been freed from everything extraneous and distracting surrounding the text to focus on the pleasure of the words themselves. In this sense the passage from paper to e-book is not unlike the moment when we passed from illustrated children’s books to the adult version of the page that is only text. This is a medium for grown-ups.
[Photo Credit: Digital Journal]