Kid's Republic is a book haven for the children of Beijing. It opened in 2005 and was designed by Japanese architect Keiichiro Sako. It's stocked with picture books from all over the world and has an activity room that hosts storytelling events and anime screenings. It also offers one of the coolest settings for both kids and grown to interact with books.


On the design, via Luxurylaunchs.com:

36-year-old Japanese architect Keiichiro Sako's design for children's bookstore Kid's Republic gives full play to the innocence, fun and inquisitiveness of the young, conjuring up images of childhood that are sure to enchant anyone walking through the doors. Twelve bands of color weave their way around the activity room to create a rainbow-like décor for a space used for storytelling and anime screenings.

Recesses in walls and ceiling accommodate light fittings and displays, and the stepped floor forms a natural stage and auditorium. The carpet provides a comfortable surface that invites children to sit or sprawl wherever takes their fancy. A ribbon of rainbow colors starts at the bottom of the stairs next to the entrance and winds its way up to the floor above, metamorphosing into various objects along the way. Functioning in places as bookshelf, table and gates, it twists and twirls to form counters and even ceiling parts, traveling a hundred meters before finally turning into a backdrop for the handrail that leads back down the stairwell to where it all began.


What a treat.


Thanks to Pratham Books for the lead
Back in February, I posted about the pilot of the airplane that safely crash-landed in the Hudson River, Captain Chesley Sullenberger, having a good excuse for not returning on time the library books he'd had with him on the airplane. Turns out I'm not the only one who thinks so. The San Francisco Public Library tapped "Sully" and several other minor celebrities to do some public service announcements about the Library's Fine Amnesty Week -- May 3-16, 2009. During this week, library patrons can return overdue books without the penalty of a fine.

Click here to see Sullenberger's PSA, in which he explains how the books that landed in the Hudson are now being freeze-dried and restored.  Among several other PSA's on the site, the one by comedian and "sometime reader" Josh Kornbluth is also worth watching.

And for those of you who are San Francisco locals, get over to the San Francisco Public Library and return those overdue books.  

What's your excuse?

See you in the stacks!

Nothing worthwhile ever happens in a vacuum. Authors say it all the time, because it's true: there is no greater satisfaction than the knowledge that something you have written has found an appreciative readership, and if you're really lucky, to have touched a person's life in some tangible way. Writers are inspired to soldier along and spend years on dreams and ideas that they hope ultimately will find their way between hard covers, and then cross their fingers, waiting for the response. 

Reviews from critics, of course, are one of the key vital signs of the business--and it would be disingenuous of me in the extreme to suggest that I don't await their appearance with keen anticipation--but what matters the most, by far, is what readers "out there" feel about your work. Letters, emails, people you meet at public events, comments that have been posted on  blogs--all provide a means for dialogue. But I have to tell you about an event I attended last week at Lorain County Community College (LCCC) just outside of Cleveland that has left me weak in the knees.

About a year ago, I was contacted by Kevin Hoskinson (at right, with yours truly), a professor of English at the college, with news that one of my books, "Every Book Its Reader: The Power of the Printed Word to Stir the World," had inspired the formation of a student essay program, to be called "The Books That Stir Us: The Basbanes Project." If something like that doesn't get your attention, nothing does. Using the stories related in EBIR as a model, Hoskinson had invited submission of thousand-word essays centered on a basic premise: "What one book has contributed most to the story of your current life." Hoskinson secured funding for the project, and was able to offer $500 prizes for three winning entries, selected on a blind submission basis by a panel of judges.

A total of fifty-seven essays were turned in, with books ranging from "Who Moved My Cheese?" and "The Diary of Ann Frank" to "The Lord of the Flies," "The Road Less Traveled," and the Bible.  I had the singular pleasure to be present last week at the awards ceremony, called a "celebration of books, learning, and of students." The winners--pictured here with NAB--were Sara Davidson, for "Ishmael," by Daniel Quinn; Tristan Rader, for "The Little Engine That Could," by Watty Piper; and Benjamin Willets, for "The One Straw Revolution," by Masanobu Fukuoka.

The names of all the participants, and their books, are posted on the project website, along with links to the texts of their essays, which I hope you all take some time to check out. They're wonderful, and I agree with Kevin, I wish we could have given cash awards to everyone. The festivities included the showing of a fabulous video produced by the college's marketing and broadast media coordinator, Ron Jantz, which I hope will be available for general viewing soon.  A very special day, all around--one made all the more memorable by an evening a few of us spent the night before at Progressive Field for a Red Sox-Indians game (won in the 10th inning by Boston on a Jonathan Van Every home run.) 

The reason that Charles Dickens's books are so long is because he was paid by the word.

Contrary to popular belief, Dickens was not paid by the word for his books. He was, rather, paid per installment.

All but five of Dickens' novels were originally published in twenty 32-page installments in nineteen issues (the last a double installment) that sold for one shilling each, though some, i.e. Oliver Twist, were issued in ten installments.

Copperfieldwrap.jpg
This formula allowed Dickens, like a modern-day soap opera writer, to whet his readers' interest in each episode and stoke their hunger to find out what would happen next. He never wrote too far in advance of the next episode, which allowed him to incorporate feedback from his readers as to how the story should unfold, or ignore his rabid fanbase: Despite desperate pleas he allowed the Grim Reaper to prematurely claim Little Nell, from The Old Curiosity Shop, as his own. (Later, Oscar Wilde, who had no patience for sentimentality, would invert it and dryly tell a friend: "It would take a heart of stone not to laugh at the death of Little Nell")

More to the point, at one shilling each, the installments were so inexpensive that just about anyone could afford them: At the time, books cost an average of thirty-one shillings, six pence (£1, 11s, 6p), a lot of money for the average British citizen of the era. The average weekly wage then was one pound; a standard book cost over a week's salary.

TOTCwraps.jpg
Thus Dickens reached a much broader audience than if the novels had been originally issued in book form. Sketches By Boz and Oliver Twist, originally serialized in the weekly magazine, Bentley's Miscellany, were later issued in separate book form yet were subsequently issued in monthly parts: Once again, the cost of books was prohibitive for many of Dickens's readers and by reissuing the books in parts the publishers hoped to increase their financial return through volume sales of installments.

While I have yet to discover how much Dickens was paid later in his career, in 1836 he earned £20 for each monthly episode of The Pickwick Papers, an extremely handsome salary.

Yet it was not enough. For most of his career Dickens also edited and wrote for magazines. He was part owner of Household Words, which he also edited. For this, he received an annual salary of £500; with income from his contributions to the magazine his annual income was £1,163-£1,652, well over $350,000 in today's money.

HouseholdWords.jpg
Yet Dickens enjoyed the fruits of fame to the extent that he was frequently in debt due to his lavish lifestyle. By early winter, 1843, for example, sales of Martin Chuzzlewit, whose first installment had been issued in January 1843, were poor and his publisher, Chapman & Hall, threatened to reduce his salary. He owed money, his wife was pregnant...

dickens6.jpeg
Ai caramba! Bestseller needed, pronto, ASAP, PDQ, NOW...

And so Dickens wrote A Christmas Carol, and at warp speed, completing it in six weeks on top of all the other writing and editing he was simultaneously engaged with. Originally issued on December 17, 1843, it sold 6,000 copies within five days. Another 2,000 copies were printed and sold out by January 6, 1844. It was a smash success.

XmasCarol1.jpg
But a financial disaster. Priced at five shillings to stimulate holiday gift sales, the elaborate production that Dickens, with contractual rights, insisted upon - John Leech was commissioned to produce eight illustrations, four to be hand-colored steel engravings, the others as woodcuts; expensive green end- papers were used, and then replaced with others of similar quality but yellow; the titlepage, originally printed in blue and red was re-printed in green and red; all edges gilt -  was such that the book was unable to earn a profit. Dickens blamed Chapman and Hall and broke with them.

XmasCaroltitle_v_1 copy.jpg
Most of the thirty-two page installments were forty-nine lines to the page; total words for each installment approx. 18,800 words; times twenty installments equals 376,320 total words per book. At £20 per installment, Dickens earned £400 per book. Many believe that Dickens earned a penny a word. It was less than that. He earned a farthing per word. A farthing is a quarter of a British penny. But a farthing went a lot farther in those days. That £400 in 1836 equals approximately $238,000 in today's money.

And, remember, that was for his first novel, Pickwick Papers. Nowadays, a first-time novelist needs a super-agent to get a deal like that.

The pay scale for writers has declined dramatically over the last 170 years. A farthing is beginning to look pretty good to me: "Please Sir, may I have some more?"

_____

References

Hatton & Cleaver. Bibliography of the Periodical Works of Charles Dickens.

Smith, Walter. Charles Dickens in the Original Cloth.

Allingham, Philip. A Review of Unequal Partners: Charles Dickens, Wilkie Collins & Victorian Authorship.

The Dickens Project, University of California, Santa Cruz

University of Glasgow, Book of the Month, December 1999. Charles Dickens: A Christmas Carol.

The Complete Works of Charles Dickens at dickens-literature.com

Richard Ellmann, Oscar Wilde. (1988).

A tip o' the hat to David Brass for providing images, and for explaining the mysteries of the British monetary system to me; I couldn't fathom farthings.