An ongoing discussion of how books are published, read, and consumed in the digital age has recently resurfaced, after a spate of controversy surrounding the new “bookworm” novels being published.
Books like the bookworm adventure series by The New Yorker, which has been around for a few years, and The Big Book of Books, by the same author, have been a staple of the digital space for a while now, and have been particularly popular among young readers, who are likely to be more aware of digital book consumption than previous generations.
It was originally slated for release in March, but was delayed to April, and was then rescheduled to July.
That’s why the latest issue of The New York Times has a cover story on the topic, which seems to be a reaction to the recent controversy surrounding those books, and to the ongoing debates over the new trend.
In the article, published today, the Times’s senior book reviewer says that the new books are a “breathtaking example of the book-reading experience” that he and the other editors are “deeply proud of.”
The review is written in a slightly more positive tone, noting that “they’re a joy to read.”
But the problem is, these books aren’t all that great, and the Times doesn’t provide any evidence that these new books will be anything more than a series of uninspired “tricks” for reading.
The problem with these books is not just that they suck, it’s that they’re just plain boring.
And that’s because they’re all just boring.
In order to make their case, The Times claims that the “truly great” books from the past are not the “bargain basement” that the current digital era is creating for readers.
“We’re in a new era,” writes the review’s lead reviewer, Mark T. Gerson, “and we should be thankful that the best books in the past weren’t the bargain basement we’re living in now.”
That’s not exactly true.
In fact, the booksellers who sell books to younger readers often have a more realistic perspective on the books that they sell.
“There’s a sense that we’re trying to get books out there, to get them to market and be read,” says Steve Johnson, the owner of The Booksmiths in Brooklyn.
Johnson is also one of the authors of the New Yorker series.
“I do think the current environment is great, but I don’t think it’s good enough,” he adds.
“You know, if I want a great book, I need a good book.”
That sounds great in theory, but it’s not always true.
A survey of more than 1,000 authors and publishers from 2011 found that the top ten books in terms of sales were published between 1999 and 2006, and only five of those were from those 10 years.
The bookworm series, by contrast, was published between 2010 and 2013.
The books published during this time period were all from the early 2000s, when digital books were in their infancy.
And the sales of books published in 2013, 2015, and 2016 were also from that time.
Even if you exclude books from these time periods, the sales were still less than half of what they were a decade ago.
And a more recent survey from BookScan, which aggregates the sales data for over 1,400 authors and authors publishers, found that bookselling in the US in 2016 was actually the third lowest in the history of the industry.
“The bookworm is a book that I’ve always been very much into,” Johnson says.
“It’s just an exciting genre.
But it’s also very much about a certain type of book.
And there’s a lot of books that have that in common, that I think people are going to find very interesting.”
The problem, says Johnson, is that there are so many “suckers” out there who think that these books are “toy books” that they will not find anything worthwhile in them.
“If they think that, and it’s like that for so long, I don, I’m not sure, I just don’t know,” Johnson adds.
The New Yorkers books are just a “dude, a dude, a guy who has an opinion,” he continues.
“He’s not really thinking about the book.”
It’s a sentiment echoed by the authors themselves, who say that they are not trying to make money.
“They’re just reading, they’re reading, and they’re like, ‘Oh, this is good, this’s good,’ and I’m like, I hate that,” says Joanna Roth, a New Yorker writer and publisher who also works on the series.
The series has sold more than 4 million copies.
And while Roth says that it is important to make sure that the books are good books that readers will actually want to read, she also says that she’s glad that they don’t sell as many books as the New York City