I wrote about the iPad for the LA Times, focusing on the reading experience and what it means. I compared it to Amazon’s Kindle; e-ink and light weight notwithstanding, Apple’s iPad came out ahead.

Although the Kindle is, as an Amazon.com spokesperson told me, “purpose-built” for reading, it seems to have lost an essential connection to books. You can do many things with its e-books — search them, make notes, leave bookmarks — but you have to learn its interface. The Kindle feels like an e-reading device, whereas an iPad feels like reading.

It’s possible that all the iPad’s book-like touches will eventually be shadows of a left-behind technology. But to me, it signals something more elusive: that books have a specific and unique shape.

Now that we consume so much content electronically — websites and news and blogs, e-mails and text messages — it’s unclear how the book will adapt. Will it have embedded video? Will it include links, like a Web page? The best aspects of the iPad’s e-reader show that even as books morph, there are certain things that make them distinct.

The story that ran in print is far from where I’d started. I’d wanted to write about how the iPad would affect publishers, about how Apple selling ebooks was heralding a new era in which publishing houses could see a challenger to Amazon, and that the Apple business model for electronic sales would change not just the retail model but administrative accounting details, and possibly more. And I reported some of this, but the fact is a newspaper freelancer like me, with blogging and teaching commitments, can’t write that story.

You know who can? A staff writer at the New Yorker, who can settle in and take the time to do it all. And  that’s Ken Auletta, who has written that story wonderfully. Here it is.

PS The photo above is owned by the LA Times. But I was there when they took it, and had to bring in the iPad for the photo shoot. So I’m hoping they don’t mind me borrowing it.

When I heard MacArthur Genius, National Book Award nominee John Edgar Wideman was doing a book with self-publisher Lulu, I was more than a little surprised. Then when I learned I could catch him at a Wordtheatre production in Santa Monica, I jumped at the chance. What he told me about writing, microfiction and the business of publishing is in today’s LA Times.

“Stories, in a way, are about time,” Wideman says. Now 68, he holds up his hands to indicate how much of his time has passed — and the smaller span that lies ahead. “What’s that mean?” he asks. “I’ve lost the best of what I have? Or is there something that I can look forward to in another scale, as life crystalizes?”

Following in the footsteps of Richard Wright, who began to write haiku near the end of his life, and taking inspiration from Yasunari Kawabata’s “Palm-of-the-Hand Stories,” Wideman is miniaturizing. He’s taking “the same ambitions” he’s always had and writing them into drastically smaller works.

As much as these stories grow out of Wideman’s current circumstances, they’re also built to connect with busy, distracted readers. “In the pace and rhythm of life we have around us today,” he says, “it’s a struggle to get a private minute. For me, the private minute is what it’s all about. It’s what a powerful culture like ours tends to crush.”

And yet, for all that Wideman wants readers to find focus in his micro-stories, his main concern ultimately is that of a writer trying to take control of his own work. “Most people write,” he notes, “because they want independence. And that independence is threatened when you have to kowtow to the means of production.”

After several weeks on the road, writing and blogging and a whole summer stacked with more responsibilities than you could shake a crashed hard drive at, I’m back.

Lately I’ve:

Been named a judge of this year’s Story Prize, with A. M. Holmes and librarian Bill Kelly
Chronicled the latest successes of Sherman Alexie for the LA Times
Reviewed Juliet, Naked by Nick Hornby at the LA Times
Talked to the Guardian about Lorrie Moore
Interviewed Margaret Atwood for Jacket Copy
Interviewed Michael Chabon for Jacket Copy
Interviewed James Ellroy for the Barnes & Noble Review
Attended the National Book Festival for the LA Times

Along in there I went to New York, Pittsburgh, Chicago, Iowa and Seattle. Much to tell, little time. But more soon.

Tomorrow is the 100th anniversary of John Fante’s birth, and I wrote an article for the LA Times about how his work — particularly “Ask the Dust”– has survived. I talked to Dan Fante, who, like his dad, is an author, and who is at work on a memoir, and who told me lots of good stuff that makes it into the article.

Zocalo holds a panel on Fante tonight at the Hammer Museum, moderated by tall guy David Kipen. Oh, he’s also NEA guy David Kipen. I can’t be there, but I am going to try to make it to the unofficiall Happy Birthday Drinks for John Fante at a Skid Row bar on Wednesday.

I am not a devoted fan of John Fante — some of Bandini’s struggles are just too juvenile for me — but I do love how he sees Los Angeles, and how it is where his true feelings lie. Like this:

Los Angeles, give me some of you! Los Angeles come to me the way I came to you, my feet over your streets, you pretty town I loved you so much, you sad flower in the sand, you pretty town.

The pretty town of Los Angeles gave me another recent article, too. Last week, I met up with Seth Grahame-Smith, author of Pride and Prejudice and Zombies. We shot a photo of him in a casket showroom and then he talked to me for an article that appeared in Saturday’s LA Times. The book has been #10 on Amazon — in all books, including nonfiction — since its release Wednesday.

Now: coffee.

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