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Home::Writing
A Brief History of the Book - Part II
Author : Sam Vaknin
E-books, cheaper than even paperbacks, are the quintessential "literature for the millions". Both erstwhile reprint libraries and current e-book publishers specialize in inexpensive books in the public domain (i.e., whose copyright expired). John Bell (competing with Dr. Johnson) put out "The Poets of Great Britain" in 1777-83. Each of the 109 volumes cost six shillings (compared to the usual guinea or more). The Railway Library of novels (1,300 volumes) costs 1 shilling apiece only eight decades later. The price proceeded to dive throughout the next century and a half. E-books and POD resume this trend.
The plunge in book prices, the lowering of barriers to entry aided by new technologies and plentiful credit, the proliferation of publishers, and the cutthroat competition among booksellers was such that price regulation (cartel) had to be introduced. Net publisher prices, trade discounts, and list prices are all anti-competitive practices of 19th century Europe. Still, this lamentable period also gave rise to trade associations, publishers organizations, literary agents, author contracts, royalties agreements, mass marketing, and standardized copyrights.
The Internet is often perceived to be nothing more than a glorified - though digitized - mail order catalogue. But e-books are different. Legislators and courts have yet to establish if e-books are books at all. Existing contracts between authors and publishers may not cover the electronic rendition of texts. E-books also offer serious price competition to more traditional forms of publishing and are, thus, likely to provoke a realignment of the entire industry.
Rights may have to be re-assigned, revenues re-distributed, contractual relationships reconsidered. Hitherto, e-books amounted to little more that re-formatted renditions of the print editions. But authors are increasingly publishing their books primarily or exclusively as e-books thus undermining both hardcovers and paperbacks.
Luddite printers and publishers resisted - often violently - every phase in the evolution of the trade: stereotyping, the iron press, the application of steam power, mechanical typecasting and typesetting, new methods of reproducing illustrations, cloth bindings, machine-made paper, ready-bound books, paperbacks, book clubs, and book tokens.
Without exception, they eventually relented and embraced the new technologies to considerable commercial advantage. Similarly, publishers were initially hesitant and reluctant to adopt the Internet, POD, and e-publishing. It is not surprising that they came around.
Printed books in the 17th and 18th centuries were derided by their contemporaries as inferior to their laboriously hand-made antecedents and to the incunabula. These complaints are reminiscent of current criticisms of the new media (Internet, e-books): shoddy workmanship, shabby appearance, and rampant piracy.
The first decades following the invention of the printing press, were, as the Encyclopedia Britannica puts it "a restless, highly competitive free for all ... (with) enormous vitality and variety (often leading to) careless work". There were egregious acts of piracy - for instance, the illicit copying of the Aldine Latin "pocket books", or the all-pervasive book-bootlegging in England in the 17th century, a direct outcome of over-regulation and coercive copyright monopolies.
Shakespeare's work was repeatedly replicated by infringers of emerging intellectual property rights. Later, the American colonies became the world's centre of industrialized and systematic book piracy. Confronted with abundant and cheap pirated foreign books, local authors resorted to freelancing in magazines and lecture tours in a vain effort to make ends meet.
Pirates and unlicensed - and, therefore, subversive - publishers were prosecuted under a variety of monopoly and libel laws and, later, under national security and obscenity laws. Both royal and "democratic" governments acted ruthlessly to preserve their control of publishing.
John Milton wrote his passionate plea against censorship, Areopagitica, in response to the 1643 licensing ordinance passed by the British Parliament. The revolutionary Copyright Act of 1709 in England decreed that authors and publishers are entitled to exclusively reap the commercial benefits of their endeavors, though only for a prescribed period of time.
The never-abating battle between industrial-commercial publishers with their ever more potent technological and legal arsenal and the free-spirited arts and craftsmanship crowd now rages as fiercely as ever in numerous discussion lists, fora, tomes, and conferences.
William Morris started the "private press" movement in England in the 19th century to counter what he regarded as the callous commercialization of book publishing. When the printing press was invented, it was put to commercial use by private entrepreneurs (traders) of the day. Established "publishers" (monasteries), with a few exceptions (e.g., in Augsburg, Germany and in Subiaco, Italy) shunned it as a major threat to culture and civilization. Their attacks on printing read like the litanies against self-publishing or corporate-controlled publishing today.
But, as readership expanded - women and the poor became increasingly literate - the number of publishers multiplied. At the beginning of the 19th century, innovative lithographic and offset processes allowed publishers in the West to add illustrations (at first, black and white and then in color), tables, detailed maps and anatomical charts, and other graphics to their books.
Publishers and librarians scuffled over formats (book sizes) and fonts (Gothic versus Roman) but consumer preferences prevailed. The multimedia book was born. E-books will, probably, undergo a similar transition from static digital renditions of a print edition - to lively, colorful, interactive and commercially enabled objects.
The commercial lending library and, later, the free library were two additional reactions to increasing demand. As early as the 18th century, publishers and booksellers expressed the - groundless - fear that libraries will cannibalize their trade. Yet, libraries have actually enhanced book sales and have become a major market in their own right. They are likely to do the same for e-books.
Publishing has always been a social pursuit, heavily dependent on social developments, such as the spread of literacy and the liberation of minorities (especially, of women). As every new format matures, it is subjected to regulation from within and from without. E-books and other digital content are no exception. Hence the recurrent and current attempts at restrictive regulation and the legal skirmishes that follow them.
At its inception, every new variant of content packaging was deemed "dangerous". The Church, formerly the largest publisher of bibles and other religious and "earthly" texts and the upholder and protector of reading in the Dark Ages, castigated and censored the printing of "heretical" books, especially the vernacular bibles of the Reformation.
It even restored the Inquisition for the specific purpose of controlling book publishing. In 1559, it issued the Index Librorum Prohibitorum ("Index of Prohibited Books"). A few, mainly Dutch, publishers ended up on the stake. European rulers issued proclamations against "naughty printed books" of heresy and sedition.
The printing of books was subject to licensing by the Privy Council in England. The very concept of copyright arose out of the forced recording of titles in the register of the English Stationer's Company, a royal instrument of influence and intrigue. Such obligatory registration granted the publisher the right to exclusively copy the registered book - or, more frequently, a class of books - for a number of years, but politically constrained printable content, often by force.
Freedom of the press and free speech are still distant dreams in most parts of the earth. Even in the USA, the Digital Millennium Copyright Act (DMCA), the V-chip and other privacy-invading, dissemination-inhibiting, and censorship-imposing measures perpetuate a veteran though not so venerable tradition.
The more it changes, the more it stays the same. If the history of the book teaches us anything it is that there are no limits to the ingenuity with which publishers, authors, and booksellers, re-invent old practices. Technological and marketing innovations are invariably perceived as threats - only to be upheld later as articles of faith. Publishing faces the same issues and challenges it faced five hundred years ago and responds to them in much the same way.
About the Author
Sam Vaknin is the author of Malignant Self Love - Narcissism Revisited and After the Rain - How the West Lost the East. He is a columnist for Central Europe Review, United Press International (UPI) and eBookWeb and the editor of mental health and Central East Europe categories in The Open Directory, Suite101 and searcheurope.com.
Visit Sam's Web site at http://samvak.tripod.com
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