paper trail literary journal

Paper Trail Literary Journal

leading the youth in a digital era

I do not know how you stumbled upon this page, you might have lost your way in an ancient library or followed a night owl into the woods, some have reached us after tripping over a pile of books and the others… well, I rather not say but we’re glad you’re here!

Welcome to our Headquarters. Here our team of happy little elves are always busy seaming words together to bring you a new issue in every quarter of the year.

As books become paperless, and cars learn to drive themselves, children are evolving into a world entirely different from the one we grew up. This Literary Journal aims to lead the youth of a digital era, ironically, through a paper trail. Our name is derived from the concept of leaving something behind for others to follow.

Our mission is to inspire young people through modern storytelling, and our vision is to create a digital journal that includes collaborators of all age groups to share poetry, short stories, articles and write-ups on young leaders and small businesses that improve our community.

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PAPER TRAIL LITERARY JOURNAL – REVIEW

Launched 31st october 2021.

It was fun to be a part of this project. I recall, when the Whatsapp group opened, and all the discussions started flowing, I thought what a wonderful group of people who would come together and contribute to the idea of one person. I believe that is the foundation of Paper Trail.

An amazing group of writers is brought together with a variety of thoughts and ideas and it’s all mixed together in a melting pot of creativity.

I spent some time reading through the journal and it was really hard for me to choose which pieces were my favourite. When you read through it, it really highlights the importance of young people and the pivotal role that they play in society. It gives them a voice.

“ Where there are challenges there is bounteous space for the cultural economy to flourish. All that is required is clarity of vision and openness”

On the Twitter page of Paper Trail , the pinned tweet reads as follows:

“Our mission is to inspire young people through modern storytelling, and our vision is to create a digital journal that includes collaborators of all age groups to share poetry, short stories, articles and write-ups on young leaders and small businesses that improve our community.”

A TRAIL OF FAVOURITES

Like I mentioned before, there are so many facets and a variety of topics in this journal, that it makes it pleasantly difficult to choose which ones were my favourite. There are however some pieces that I would like to highlight.

“ Back In The Day” by Shiara Sharanund. A learner at Westville Girls High school wrote a beautiful article that makes you reflect on the days past and how they made you feel. It sums up the idea of nostalgia stunningly. Below is a piece from her article.

There is also a sweet little piece from a Grade 4 learner at R.A Engar Primary school. This piece made me feel a bit sad but also put a smile on my face. Since the Covid-19 pandemic, we have forgotten that the little ones have also gone through some major changes but they have adapted so well.

The following quote is from a piece written by Shika Budhoo from her column titled “Align and Shine”

“Be the producer / radio DJ of your own mind and make sure the thoughts you think stay focused on your blessings and goals.”

Shika’s column gives you easy and practical tips on how to change the frequency of your thoughts from negative to positive and I think we can all do with a bit more positivity.

Another important piece that I would like to highlight is “How To Take Care Of You and Your Mental Health” by Robin Cleote. This piece speaks to all of us and after everything we’ve been through, it’s definitely worth the read.

KOFFEE FOR THE SOUL

I also contributed to the journal and I truly feel honoured that I could do that. I shared a space with amazing writers and if you haven’t heard of them before, you surely will now. Paper Trail brings communities together from across the world through the power of words. It reminds me of my review on Letting In The Light . Another body of work that simply reminds you about the beauty of words and shared experiences.

When I thought about the column that I wanted to contribute to Paper Trail, I wanted to write something honest and something that anyone could relate to. I didn’t want to give advice, I simply wanted to reflect and that’s the brief I proposed to the founder and editor, Ekta Somera.

The name “Koffee For The Soul” was inspired by how when we drink a warm beverage, its comforting and relaxes us and that is the experience I wanted to give the reader.

There is a little bit of wisdom in every piece that has been added to this journal. I am amazed at the array of writers and their contributions.

Paper Trail brings together a range of articles for every kind of reader. From recipes, poetry, history, fashion, and makeup to anime and so much more. There is truly something for everyone.

It is not just an enjoyable read but is also a learning experience.

Well done to everyone involved and to Ekta Somera for the idea of starting this journal.

A SOCIAL MEDIA TRAIL:

Twitter: PapertrailZA

Instagram: Papertrailza

Literary Journal: PapertrailZA J ournal

If you would like to get involved in future issues of the journal, please do contact the editor Ekta Somera by email on [email protected]

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Paper Trail Literary Journal

Leading the youth in a digital era..

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ISSUE THREE

NEWSPAPER ARTICLE

MG200YOUNG 2022

Paper Trail Literary Journal #3

After two successful segments, the third issue of Paper Trail Literary Journal promises a variety of art and South African culture with thoughts and perspectives from writers and artists across the country.

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Uzoamaka Maduka Leaves a Paper Trail With the American Reader

By Amy O’Leary

• Jan. 2, 2013

IN a five-story town house on East 49th Street, novelists, artists and editors gathered last month for one of the more lavish literary parties of the season, hosted by Scott Asen, a financier who sits on the board of The Paris Review. Fine-featured girls in Pre-Raphaelite dresses swayed to a four-piece Dixieland band as one guest whispered, “There are more literary people here than anywhere.”

Between cocktails, thick slices of pink roast beef were plated and passed around, and Ann Marlowe, the writer and critic, approached a young African-American woman seated at a long kitchen table.

“You’re the woman with the magazine, aren’t you?” she asked.

She is. As the editor of the fledgling literary journal, The American Reader , Uzoamaka Maduka, a 25-year-old Princeton graduate, is proof that even in this iPhone age, some paper-based dreams have not died: bright young things, it seems, are still coming to New York, smoking too much and starting perfect-bound literary journals.

On the night of Mr. Asen’s party, The American Reader was just a week away from deadline for its third issue. The fact the magazine has printed anything at all has left many to wonder: how did this young woman, with no special family or literary connections, manage to wrangle some big names around the unlikeliest of projects — a monthly literary magazine?

The answer is that Ms. Maduka, or Max to her friends, has combined an unusual charisma with sheer determination to meet the right people, find the right parties and propel herself into the city’s literary set, even before the magazine has produced much in the way of writing. Her personality presents a stark contrast to the clubby and often critical literary party scene, with a warm, open nature that has built a parade of new best friends — along with admiring profiles in The New York Observer and The Daily Beast .

“All of a sudden we found ourselves on fast-forward, almost,” said Julian Tepper, the novelist, who met Ms. Maduka last June at his own book party. “All I can remember is being very good friends.” “It’s no wonder people have responded so well to her, and so quickly,” he added.

The journal’s masthead alone makes for interesting reading. Her editors and advisers lean heavily toward Princeton connections, sprinkled with writers, poets, a MacArthur “genius” grant recipient and two women more frequently photographed than written about. The memoirist and former Vogue writer Stephanie LaCava and Shala Monroque, occasional muse to Miuccia Prada, make it a better-dressed list than usual.

“It sounded intriguing and a bit insane,” said Ben Marcus, the novelist who joined The American Reader as its fiction editor in the fall. He was recruited by an e-mail that was part fan letter, part cold call.

When he met Ms. Maduka and her executive editor (and on-again, off-again boyfriend), Jac Mullen, at Le Monde on the Upper West Side, Ms. Maduka had already ordered Champagne for the table. They said he could edit three pieces of fiction each month, but he remained skeptical.

“No matter what objections I raised,” he said, “Max seemed gorgeously undeterred.”

While The American Reader aspires to publish important fiction, poetry and criticism, the most interesting thing about the project may be the editor in chief herself.

Born to Nigerian parents and raised in Maryland, Ms. Maduka is easily mistaken for well over six feet tall (she is 5-foot-11, “it’s all hair and heels,” she said, laughing), and wears spandex, turbans and kimonos as easily as a floor-length gown. She smokes with relish and is a practicing Catholic eager to defend her beliefs, attending weekly mass at St. Ignatius Loyola on Park Avenue with Mr. Mullen, who became Catholic while they dated at Princeton.

The idea for the journal came after Mr. Mullen was injured in a freakish skating accident last year. As he was stuck at home for months with his leg in a cast, the two talked over everything, the way they did in college. They felt the literary world had become too hermetic, especially for readers under 35.

“So many of the voices in fiction that are out there are deeply neurotic white male stories of how, ‘Oh, I had weird sex, I can’t figure things out, I’m going to ramble for 300 pages, you better sit still because I’m a tour de force,’ ” Ms. Maduka said. “I kind of felt like, I really don’t want to sit still for this.”

“Literature, from women of any race and men of any race, besides white, would always be pigeonholed as, ‘Now I’m going to tell you my Nigerian story,’ ” she added, “And it was so tiring.”

Few have read The American Reader yet — it is currently sold in only two downtown bookstores — but those who have say it is too early to offer a critique.

Lorin Stein, editor of The Paris Review , has read most of the first two issues, and said he was very impressed by the confidence and energy of its young editors.

“I like the unprecious look of the thing,” he said. “It’s made to be read. Of course it will be tricky putting out a new one every month, but that’s clearly part of the fun of the endeavor.”

The magazine’s financial backer has preferred to remain anonymous. But that has not quieted the array of rumors that have sprung up at dinner parties around town.

Was it the superstar art dealer Larry Gagosian, who has been romantically linked to Ms. Monroque, a creative consultant for the magazine? (“Not true,” Ms. Maduka said.) What about Mr. Asen, who threw Ms. Maduka a birthday party last summer? (No.) Are Ms. Maduka’s parents famous, wealthy Nigerian writers bankrolling their daughter? (Her father is a pediatrician, her mother is a chemical engineer.)

The real story? “It was random,” she said. One of Ms. Maduka’s college friends, she explained, was offered money for some kind of cultural project. The friend had nothing in the works, however, and passed the opportunity onto Ms. Maduka, acting as a middleman for the mystery investor.

That money allows her to pay the writers and two full-time staff members, and to print the magazine. Ms. Maduka and Mr. Mullen are still living off their savings from previous jobs — she as an au pair and Mr. Mullen as a copy editor. To keep expenses down, Mr. Mullen lives in The American Reader’s offices, while Ms. Maduka shares a nearby town house with several Juilliard students.

They are hustling to sell subscriptions and advertising, but more urgently, they need a second investor. Without other money coming in, the initial investment runs out in March.

“We’re at such a critical time right now,” said Ms. Maduka, which is why her end-of-year calendar was filled with events where she scouted new writers and potential investors, often while smoking. (“I’ve always viewed the smoke break as the golf course of the creative class,” she said.)

It is aggressive, if cheerful, networking.

On a Wednesday in December, she wore a dingy, rough-edged sweatshirt and red knit cap at the Gin Mingle fund-raiser held by the Housing Works bookstore. The next night, sheathed in a long, lean black dress, she addressed a cocktail party full of supporters for her magazine in a West Village apartment. A week later, she arrived in a textured peplum top and spandex pants at a warehouse bookstore in Dumbo, where she spoke at a PEN American Center party. Sometimes there is cat-eye makeup. Sometimes there is not.

Between all this, the magazine is struggling with the inevitable start-up problems. The first issue was printed on the wrong paper. Its glossy cover crinkled badly and was quickly redesigned for the second issue (lifting the design almost entirely from an obscure midcentury French political journal, Le Contrat Social ). The magazine is working to set up distribution beyond New York City, and is hoping to increase the 20,000 unique hits to its Web site per month.

The content remains uneven. The second issue’s central piece was a reprint of a famous 1955 James Baldwin essay, which is easily found on the Internet and has its own Wikipedia page . Many people who have read The American Reader said in interviews that they were still waiting to be impressed by it.

But Ms. Maduka is keeping her fingers crossed that a new investor will provide the chance for the magazine to build a lasting legacy. She dreams of its becoming a truly national publication or printing an undiscovered story by Dostoyevsky. In the rented apartment that is the office, a printout of a long article on the history of the 60-year-old Paris Review sat on the kitchen counter, laying the magazine’s aspirations bare.

She worries that if the money runs out, people are going to view The American Reader as just another cautionary tale about the death of print, and that her generation will again be stereotyped as unserious multitaskers who prefer to Instagram the world rather than to write about it.

“You start to feel,” she said, “like you have a lot more on your shoulders.”

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Ghosts of War: Chasing My Father’s Legend through Vietnam

Eric Reguly

Sutherland House

134 pages, hardcover and ebook

Eric Reguly, the Globe and Mail’s European bureau chief since 2014, grew up in a newspapering family. So did I. Our fathers had the good fortune to work in print journalism during its heyday in the 1950s and ’60s, when papers turned a handsome profit and newsrooms teemed with reporters, most of them male and the best of them whip-smart and hyper-competitive.

My father worked on the nuts-and-bolts side of newspapering, as the publisher of small-market dailies in southern Ontario. He was good at his job but harboured a barely concealed jealousy of the reporters he employed. They had all the fun, got all the glory. The Graflex Speed Graphic press camera he kept in the family car bore witness to his hankering to get in on the action.

It was in the pages of the Toronto Star that my father’s spurned inner newshound found solace. Every evening after dinner, he would crack open the paper and read every word of it — as if it were a reward for his day of crunching numbers and facing off against the typographers’ union.

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His habit followed him to the grave. The eulogy at his funeral included a quip about eternity being a subscription to the Star that never expired. If there were such a thing as reincarnation, I’m pretty sure he’d choose to come back as a “ Star man”— the label the headline writers in Toronto reserved for select reporters whose ingenuity and derring‑do produced the scoops the paper coveted.

Eric Reguly’s father, Robert Reguly, was the heavyweight champion of Star men. He won the title in the mid-’60s, tracking down the fugitive mobster Hal Banks and, a couple of years later, Gerda Munsinger, the East German spy who was at the centre of an Ottawa sex scandal but had been presumed dead. Both scoops earned him National Newspaper Awards as well as a plum posting as the Star  ’s Washington bureau chief, in 1966. From there he branched out to cover the biggest story of the day, America’s war in Vietnam.

Ghosts of War grew out of a 2018 Globe and Mail piece Eric Reguly wrote about his quest to retrace his father’s reporting sorties throughout Southeast Asia, “to learn more about how he covered the war, what motivated him, and how it changed him.” The armed conflict remains the core of the book, but around it Reguly has constructed a candid, riveting story of a son’s efforts to understand a father and mentor he admired but only partly knew.

At 134 pages, this is a slim volume, yet it’s insightful, moving, and richly detailed. Reguly uses the first six chapters to map out his father’s path to becoming the pre-eminent Canadian journalist of his day. It’s a story of ambition and grit: a lonely Slovakian immigrants’ kid from a hardscrabble town in Northern Ontario discovers the joys of literature, gets himself educated, develops a lust for adventure, lands his first reporting jobs, and eventually makes it to Toronto and the country’s biggest daily in 1957.

“My father was a walking caricature of a newsman of his era,” Reguly writes. “One of my favourite photographs shows him at his typewriter, cigarette dangling from his lips, a cocky grin lighting up his face.” Robert’s cockiness in chasing down minor stories paid huge dividends when it came to the riskier big ones like the Banks and Munsinger scoops. “My mother says her husband certainly was brave,” Eric explains. “But she is also convinced that his brain’s neurocircuitry simply did not register fear like ordinary humans.”

Long after Robert’s newspaper days were over, his face would “light up like a candle” when he talked to his son about Vietnam. Although he came to detest the war as unwinnable and evil, he loved covering it — exulting in the “close calls, the adrenaline rushes, the adventure, the sheer freedom from the daily grind, the journeys into the unknown, living a millimetre, a nanosecond, from death.”

The Vietnam that Eric Reguly encountered proved to be vastly different from the country whose agony his father depicted in his dispatches for the Star . It had become an economic powerhouse, the skylines of its bustling cities studded with gleaming towers, hamlets that were once killing fields now transformed into subdivisions. Memories of the war itself are fading: Reguly struggled to find local witnesses to the clashes his father chronicled. The effort finally paid off when he stumbled upon an elderly Montagnard man who had likely crossed paths with Robert during an American infantry operation in June 1967. “I felt spiritually closer to him in those precious moments,” Reguly writes of his father, “than at any time since his death eight years earlier.”

The moment was especially poignant because, as Reguly tells it, Robert was a far better reporter than he was a dad. “He was always away. When he was home, he was absent too, obsessed with the next big story, buried in newspapers, drinking with contacts, largely oblivious to the needs of his stressed-out wife and three young kids.”

Eric Reguly’s trip to Ho Chi Minh City and beyond was partly a waypoint on a son’s journey of forgiveness. It was also partly about atonement. He confesses to being haunted by a hurtful jab he uttered in the wake of a libel lawsuit that ended his father’s newspaper career in 1981. The offhand remark — just two words — still makes him “wince with pain and regret.”

After his year in Vietnam, Robert went on to cover wars in Bangladesh, Biafra, and the Middle East as well as major stories closer to home, including the assassination of Bobby Kennedy, which he witnessed first-hand in 1968. But as far as his son is concerned, Vietnam was where his career peaked. The younger Reguly ended his visit to the country frustrated that he hadn’t been fully able to accomplish his mission. But maybe that was apt. Coming to grips with the ghost of a larger-than-life parent, as well as the complexities of oneself, is work that is rarely finished.

Speaking of ghosts, Reguly’s book about his father stirred memories of my own. My dad would have loved this book; I could see him scarfing it down in a single sitting. I could also imagine it tweaking the part of him that yearned for the adventurous side of newspapering. He died with that longing unfulfilled. But I want to believe that before he passed on, he found comfort in the assurance that you don’t have to be a Star man to be a good man.

David Wilson edited the United Church Observer for eleven years.

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Paper Trail

By Ken Auletta

At four o’clock in the morning on January 22, 2010, John Sargent was pedalling furiously on an exercise bicycle in the basement of his Brooklyn brownstone. Sargent, the C.E.O. of Macmillan Books, had a difficult decision to make. In five days, Steve Jobs would announce the first iPad, and he was pressing Sargent to agree to a new way of selling books. For more than a hundred years, publishers had maintained a wholesale business: they sold books to bookstores at a discount, and bookstores marked them up and sold them to consumers. The advent of e-books called that model into question. Because e-books didn’t carry many of the costs of bound books, no one could agree on how they should be priced.

Amazon had the loudest voice in the conflict. Since introducing the Kindle, in 2007, it had come to dominate the e-book market, with about ninety per cent of sales. In the effort to gain even greater market share, it was selling books at a loss: while publishers typically sold e-books to Amazon for about fifteen dollars apiece, Amazon was selling many of them, especially best-sellers, for $9.99. Publishers were making money, but they were concerned that consumers would come to believe that $9.99 was what books were worth, and they were desperate to have greater influence on prices.

The deal with Jobs offered a way: an arrangement called the agency model, which Apple used for selling music and apps. The publishers would set prices, and Apple, acting as their “agent,” would take a thirty-per-cent commission and give them the rest. Apple had a stipulation, though. There are six large publishers in the United States, and if Apple didn’t get four of them to join its program it wasn’t going to sell books.

Sargent was vexed. Amazon accounted for a third of the major publishers’ U.S. sales. What if it refused to carry Macmillan’s books? But if he didn’t consent to Apple’s plan, he feared, Apple would choose not to compete against Amazon, solidifying its monopoly.

This confrontation had been simmering for some time. In 2009, the Hachette Book Group, another of the Big Six publishers, sent a team to Washington to petition the Antitrust Division of the Justice Department, hoping for help in curbing what publishers saw as Amazon’s predatory practices. The team gave Justice a report asserting that Amazon was selling e-books below cost in order to induce readers to buy Kindles, and to drive bookstores out of business; if publishers resisted the lower prices, Amazon threatened not to sell their books at all. Justice wasn’t interested in the case. “They just turned around to us and said, ‘Sorry, we can’t help, because the consumer is the winner,’ ” David Young, the chairman and C.E.O. of Hachette U.S.A., said.

The Justice Department believed that Amazon was serving consumers well by reducing book prices and by developing a popular device for reading e-books. Publishers believed that Amazon was attempting to control every part of the industry. It had formed a publishing arm that offered editing and promotional services, and wooed authors with promises of higher royalties; it bought BookSurge, to print its own books on demand, and Audible, a major provider of recorded books. Richard Howorth, the owner of Square Books, a well-regarded bookstore in Oxford, Mississippi, says, “Amazon not only wants to sell books to everyone—they act as publisher and agent and distributor and retailer and manufacturer.”

There is a certain bluster about Sargent; confrontations did not discomfit him. His parents divorced when he was young, and his mother moved him and his sister to an isolated part of Wyoming. “It was cowboy country,” an editor at Macmillan says. “John grew up spending lots of time alone.” But he also had strong links to publishing—his grandfather Frank Nelson Doubleday founded Doubleday & Company, and his father, John Turner Sargent, Sr., built it into a respected firm—and as an adult he moved back to New York and joined the family business. At Macmillan, he oversees sixteen publishing houses. Before the Apple deal, he recalls, “I had half the staff saying, ‘Do it,’ and half the staff saying, ‘Don’t do it.’ ” Unlike other publishers, his parent company, Holtzbrinck Publishing Group, was privately owned, so his bosses were not responsible to shareholders. They said it was his decision. He told Apple yes.

Five days later, Steve Jobs announced that five of the six publishing giants—Macmillan, Hachette, Simon & Schuster, HarperCollins, and Penguin—would sell their books through Apple’s iBookstore. (Only Random House said no, retaining the more lucrative wholesale model.) In addition to the agency model, the five publishers had agreed to a clause assuring Apple that it would have the right to match any other retailer’s lowest price. Sargent flew to Seattle to confront Amazon. He argued that the agency model was a good deal for Amazon, too; it would pay the same price as any other bookseller, but, instead of losing money on the best-selling e-books, it would make a commission of thirty per cent. He also warned that if Amazon would not accept the agreement he would no longer allow it to carry his company’s e-books.

In response, Amazon stopped selling Macmillan’s books altogether. But Sargent did not back down, and two days later Amazon put up an announcement on its Web site: “We will have to capitulate and accept Macmillan’s terms because Macmillan has a monopoly over their own titles.” Within a few weeks, all five publishers that had accepted the deal with Apple had forced Amazon to agree to the agency model.

By 2012, it seemed that Sargent’s gambit had worked. Amazon’s share of the e-book market had dropped from about ninety per cent to sixty. Apple had about ten per cent of the market, and Barnes & Noble, which had introduced an e-reader called the Nook, had about twenty-five. Bookstores were hopeful. Richard Howorth, of Square Books, said, “It at least enables me to say to our customers that not only do I sell e-books but eighty per cent of them are available at the same cost as anywhere.” William Lynch, the C.E.O of Barnes & Noble, says that without the increased revenue that came with the agency model the Nook might have failed. “We invested over two hundred million dollars this year,” he said, introducing the first color reader and developing a way for store visitors to sample books on the Nook. “If Amazon had maintained its monopoly, we would not have been able to make that level of investment.”

It was a peculiar victory, though. Under the agency model, many consumers paid higher prices, and Amazon made more money, while the publishers made less—according to one C.E.O., a hundred million dollars less each year. E-books are cheaper to produce, by about twenty per cent per book, because they do away with the cost of paper, printing, shipping, and warehousing. They also eliminate returns of unsold books—a significant expense, since thirty to fifty per cent of books are returned. But they create additional costs: maintaining computer servers, monitoring piracy, digitizing old books. And publishers have to pay authors and editors, as well as rent and administrative overhead, not to mention the costs of printing, distributing, and warehousing bound books, which continue to account for the large majority of their sales.

Publishers were terrified. Print revenues had declined fifteen per cent since the year before, and in just a couple of years e-books were projected to make up about a third of all book sales. Publishers worried that bookstores, burdened by the costs of rent and staff, were unable to compete with Amazon. Without the stores, publishers would lose their primary customers, and their strongest ally in marketing. “In bookstores, readers are open to trying new genres and new authors,” Scott Turow, the president of the Authors Guild, has said. “It’s by far the best way for new works to be discovered.” Because each book is a unique product, large-scale advertising is usually unfeasible, so publishers work with stores to guide readers to books, in the belief that the tactile experience of shopping leads people to books they would not otherwise find.

“This idea of going into a store and being able to see a range of books that you never knew you wanted to buy, or you didn’t know existed, is very important,” David Young, of Hachette, says. On Amazon, publishers have little say in how a book is presented; buyers looking for a particular book are led to similar titles, chosen by an algorithm. A striking book jacket matters much less. John Makinson, the C.E.O. of Penguin, said, “Once you lose the ability to display a book and you have to rely on a consumer to discover a book, then publishers are not going to be able to publish anything like the range of books we do today. It will make absolutely no difference to some best-selling authors we publish. But breaking out the new author becomes a virtual impossibility.”

Jeff Bezos, the founder of Amazon, believes that the book industry is infuriatingly wasteful. He says that his company intends to disrupt traditional “gatekeepers”—publishers, bookstores, agents, and other middlemen—who “slow innovation” and impede “self-service platforms.” If books were all digitally produced, the process would be much more efficient, and the savings could be passed along to consumers. Bezos is a businessman, but, like the founders of Google and Facebook, he frames his business as a force for social good. In his terms, Amazon offers consumers the lowest prices, and allows authors who otherwise might not be published to sell books directly to readers. The Kindle best-seller list, Bezos wrote in 2011, “is chock-full of books from small presses and self-published authors, while the New York Times list is dominated by successful and established authors.”

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Russ Grandinetti, Amazon’s vice-president of Kindle content, says, “Clearly, consumers are paying higher prices for books” under the agency model. “I don’t see how not allowing price competition preserves competition.” He argues that Amazon “is getting people to read more,” pointing to Amazon surveys showing that readers who had a Kindle bought three times as many books as they did before. The ease of purchasing a book online “is powerful for the whole business,” he says.

Yet, when I asked Grandinetti why publishers should view Amazon as a partner, he said, “We’ve always been a company focussed on customers, not competitors”—a peculiar way of describing your suppliers. By offering low prices on everything from books to designer clothes, power tools, and groceries, Amazon has made many business adversaries. It recently developed an app that allows people to scan the price of a product—a book at Barnes & Noble or a television at Best Buy—and instantly learn whether Amazon offers the same item cheaper. Stores complain that Amazon is stealing their customers, and that it often pays no sales tax on its goods.

In May, 2011, Amazon hired the veteran publisher Laurence Kirshbaum to lead a new general-interest imprint called Amazon Publishing, and in December it established a six-million-dollar fund to pay self-published authors. A publishing executive who has had extensive dealings with Bezos told me, “Going into publishing was a last option. But when publishers went into ‘agency’ it shifted the agenda for Bezos. He felt publishers were so irrational that he shifted to a predatory mode.”

Grandinetti denies trying to put publishers out of business. Amazon, he argues, is simply acknowledging that consumers have many choices for entertainment—TV, e-mail, Facebook, games—and that the challenge is to make books both cheaper and more enticing. He believes that publishers are failing to keep up with change, and that traditionalists are missing the point when they ask, “Why doesn’t the book business stay the same?”

The traditional model has advantages for authors, though, particularly in publishers’ function as venture-capital firms. When an author sells a book proposal to a publisher, he receives an advance against royalties, which helps underwrite research and writing. Most of these advances are never earned back. But books that sell well support the ones that don’t. In a good year, this earns the publishers a modest profit, and it allows more authors to take risks in starting new projects—which is to say, it supports a class of professional writers. In a more efficient world, publishers would pay authors who write best-selling books and rarely pay those who don’t, an alarming prospect for most serious readers and writers. According to a recent survey by the Web site Taleist, half of all self-published authors make less than five hundred dollars a year from their writing. If publishers don’t have the money to pay advances, Young says, “we’re going to have fewer books of quality. The impact on authors could be huge.”

The first sign that Sargent and the publishers had won a Pyrrhic victory came in August, 2011, when a class-action lawsuit was filed in California, claiming that Apple and the five publishers had colluded to fix prices. Many in the publishing business pointed out that a lead attorney for the suit, Steve W. Berman, worked out of a building in Seattle where Amazon has several floors of office space. Although Berman insisted that he was working only for his clients, it is clear that Amazon provided much of the evidence in the eighty-three-page complaint: accounts of meetings, phone calls, and e-mails between Amazon and publishers. Oren J. Teicher, the C.E.O. of the American Booksellers Association, asserts that Amazon helped organize the suit in order “to open up yet one more front in their effort to dominate the entire book business,” and to “increase the pressure” on government to intervene.

The Justice Department’s Antitrust Division soon began inquiries, as did the attorneys general of several states, and the European Commission. Unlike class-action lawyers, Justice can issue subpoenas, and it retrieved phone records from Apple and the five publishers, notes from meetings, and e-mails—twenty thousand from Penguin alone, according to an executive there. On April 11th, Attorney General Eric Holder announced that an antitrust suit had been filed against Apple and the five big publishers for “a conspiracy to raise, fix and stabilize retail prices.”

In a thirty-six-page complaint, the Justice Department argues that publishers communicated by telephone and e-mail, and in meetings—including meals “in private dining rooms of upscale Manhattan restaurants”—to determine how to subvert Amazon’s pricing strategy. The complaint noted that they “took steps to conceal their communications with one another, including instructions to ‘double-delete’ e-mail and taking other measures to avoid leaving a paper trail.” In violation of Section 1 of the Sherman Antitrust Act, it said, they had stifled competition and forced consumers to pay an average of two to three dollars more per book, for a total of at least a hundred million dollars.

Courts recognize various forms of price-fixing. One is horizontal collusion, in which competitors conspire to set prices. Another is vertical collusion, between, say, a manufacturer and a retail store. Justice’s charge was a hybrid: “hub and spoke” collusion, in which a retailer coördinates manufacturers to gain control of prices. Between December, 2009, and January, 2010, the complaint said, an Apple executive named Eddy Cue shuttled between the publishers, keeping “each Publisher Defendant informed of the status of its negotiations with the other Publisher Defendants.” (Apple denied the charges, and, through a spokesman, Cue declined to comment.) According to Justice, Penguin (which published my last three books) asked for assurances that other publishers would join with Apple, and Cue supplied them; two other publishing executives told me they had similar conversations with him. When Sargent threatened, in January, 2010, to pull Macmillan’s e-books from Amazon, D.O.J. claims, Cue told him that other publishers were on board.

A number of publishers insist that they did not collude. “It was my decision alone,” Sargent says. “That’s why the whole thing about collusion is ludicrous to me. I was in a silo. It was just me.” In places, the D.O.J’s evidence is thin. The complaint says that, in September, 2008, the C.E.O.s of the Big Six publishers met in a private room at Picholine, a French restaurant near Lincoln Center, and notes, rather unsurprisingly, that “business matters were discussed.” David Young says that he organized the dinner to welcome the new C.E.O. of Random House, Markus Dohle, and several C.E.O.s maintain that if there was any business discussed it was the sort of gossip and stray publishing talk common among executives who often encounter each other at awards ceremonies and public dinners. Sargent recalls, “I talked to him about getting his kids into schools. How do you get collusion on price and a business model from that?” In any case, the dinner was held a year and a half before Apple adopted the agency model—and before it had announced that it was going into the book business.

But the complaint provides several pieces of strongly suggestive evidence. Around the time that Apple presented the agency model, it notes, one C.E.O. called David Shanks, Penguin’s U.S. publisher, to tell him, “Everyone is in the same place with Apple.” In an e-mail, another executive discussed a prospective joint venture among publishers to create their own online books site, saying, “The goal is less to compete with Amazon as to force it to accept a price level higher than 9.99.” One C.E.O. admitted under oath to calling two other publishers, including Sargent, in order to find out whether they planned to sign with Apple.

In responses to the Justice Department, Penguin and Macmillan insisted that they were innocent. Sargent, sounding incredulous, told me, “I cannot comment on a phone call that I may or may not have received. There was no collusion.” And though the publishers welcomed Apple’s terms, they insist that they arrived at them independently. In March, one of the five publishers defended Cue, saying, “He was telling me, ‘Look, I’m not going to do the iBookstore unless I get three.’ That was an absolutely fair and sensible thing to say. Otherwise, he’d be misrepresenting Apple’s intent. He wasn’t going to do an iBookstore if he got just my books. He needed some substance in that store to make Apple look like a player.” Others pointed out that they hadn’t profited from the deal with Apple. Young told me in March, “I had always understood that antitrust was about people colluding to make money. We were making less money on the agency model. We were playing the long game in the absolute belief that if we didn’t do this the bookshops would suffer.”

Nonetheless, lawyers for the defendants explored the possibility of a settlement. A public suit would embolden the European Commission, which can impose severe financial penalties—as much as ten per cent of the parent company’s annual revenues—and it might fortify the class-action lawsuits. In April, Arnaud Nourry, the international chairman and C.E.O. of Hachette Publishing, sat in Hachette’s midtown offices and explained unhappily that his company had agreed to settle. “It’s been a tough decision,” he said, and added, “I would have liked to convince D.O.J. we did not misbehave.” The lawsuits had already cost Hachette eight million dollars in legal fees and were projected to cost as much as twenty million more. “It’s a waste of time and a diversion for management. We’re a small company compared to the big guys, like Apple and Amazon.” Lagarère SCA, Hachette’s parent company, has two and a half billion dollars in yearly revenue; Amazon has fifty billion, and Apple a hundred and eight billion.

In the end, three of the five publishers—Hachette, HarperCollins, and Simon & Schuster—agreed to settle. Justice did not file a criminal complaint, as is common in price-fixing cases, and it imposed no fines (although Hachette and HarperCollins agreed to pay at least fifty-one million dollars to tentatively settle the class-action suits). Under the terms of the settlement, the three publishers were allowed to maintain the agency model, but for the next two years they had to permit discounts of up to thirty per cent, the amount of booksellers’ commission.

Effectively, publishers lost the ability to set a floor price, while Amazon could still offer deep discounts. As long as its total discounting did not exceed its commission, it could sell a typically priced e-book at $9.10, or discount select best-sellers to far less. The publishing consultant Mike Shatzkin wrote on his blog, the Shatzkin Files, “Every company in the industry is going back to the drawing boards. Only one is not unhappy about it.” On the day that Justice announced its filing, Amazon released a statement: “This is a big win for Kindle owners, and we look forward to being allowed to lower prices on more Kindle books.”

Apple, Macmillan, and Penguin decided to fight the suit. John Makinson, the chairman and C.E.O. of Penguin, disputed the D.O.J.’s evidence, saying, “Most fundamentally, we don’t think we’ve done anything wrong. We did not collude with other publishers in reaching an independent decision.” Nor, he believed, had they colluded with Apple. And since publishers were challenged in five different legal arenas—by Justice, state attorneys general, the European Commission, and class-action lawsuits in the U.S. and in Canada—“if we were to say in one jurisdiction, ‘O.K., we will not admit liability, but we will settle,’ we would be sending a signal that, in some way, we acknowledged the justice of the Department of Justice’s position.”

Sargent released a statement saying that “the terms the D.O.J. demanded were too onerous” and could allow “Amazon to recover the monopoly position it had been building.” In April, I met him in his office on the nineteenth floor of the Flatiron Building, a triangular room with tall windows and views in three directions. He told me that many people in publishing thought that Amazon was enabled by the Justice Department, and that his colleagues’ response had been “ ‘Thank you. Somebody had to stand up.’ ” Justice, he believed, had targeted the wrong party: “I felt the antitrust department should be addressing the predatory pricing that was keeping others out of the marketplace.”

Every prosecutor has the power to choose what cases to bring before the courts. In 1940, Attorney General Robert H. Jackson, who later served on the Supreme Court, addressed a conference of U.S. attorneys, attempting to distinguish between justice and the rigid adherence to legal code. “Law enforcement is not automatic. It isn’t blind,” he said. “What every prosecutor is practically required to do is to select the cases for prosecution and to select those in which the offense is the most flagrant, the public harm the greatest, and the proof the most certain.”

The D.O.J. could have chosen not to bring this case. But, once it did, the law is clear, according to Christine A. Varney, who led the Antitrust Division until she returned to private practice last fall. “The fact that publishers or record labels or movie producers say their business models may not survive the digital revolution is not a particular concern of the antitrust laws. The antitrust laws look to preserve competition and innovation.” Publishers might have had admirable intentions, she says, but if they colluded with Apple they violated the law.

But the Justice Department’s complaint doesn’t address the question of Amazon’s attempt to monopolize the market. Nor does it concede that the publishers’ and Apple’s actions generated competition—helping to allow Apple and Barnes & Noble into the e-book market and driving up sales of the Nook and the iPad, which spurred a reduction in tablet prices. “I believe publishers decided to lower their income on e-books and are making the kind of long-term decisions we often accuse businesses of not making,” the literary agent Simon Lipskar told me.

Tim Wu, a Columbia law professor who spent last year as a senior adviser to the Federal Trade Commission, defends Amazon. “It is possible that online book sales are a better business model than actual bookstores,” he says—just as iTunes delivers a greater variety of music at lower prices than Tower Records did. “If Amazon was losing money on the sale of each e-book, who is the harm to? Not consumers. Barnes & Noble gets hurt. Is protecting booksellers worth it if consumers are paying more?”

But, if Barnes & Noble closes, Amazon will have an effective monopoly on all books, electronic and otherwise. What makes Amazon “dangerous,” Sargent says, is that “there could come a day, if they get back up to ninety per cent of the e-book market and if the e-book format becomes the predominant way that people read, that we will be in a world where one company can decide what books get widely distributed.”

David Young believes that Amazon’s low prices—what he called “predatory pricing”—would have forced bookstores into bankruptcy, and perhaps driven prices below what it costs publishers to produce books. Wu disagrees, saying, “A predatory pricing theory relies on the idea that Amazon plans later on to raise prices. I don’t know of strong evidence for that claim.” But what Amazon did with Diapers.com provides at least one example. First, it competed to lower diaper prices; then it acquired the smaller business; then it raised prices. Amazon’s profit margins are slim, especially compared with its stock-market value. The pressure from stockholders to increase profits will only grow, and, like conventional publishers, Amazon may want to make more money on its best-selling books.

Amazon is already using its position in the market to intimidate less powerful publishers. Although the Justice Department focussed on the Big Six, the majority of books are produced by independent publishers. “Amazon is using its monopoly power to dictate to these companies that they will continue to discount our books below cost,” one small publisher says. “Amazon continues to insist that these publishers sell their books at prices that threaten their business.”

On May 15th, the U.S. District Court for the Southern District of New York denied a petition from Apple, Macmillan, Penguin, and Simon & Schuster to dismiss the class-action lawsuits. The court acknowledged the publishers’ concern for bookstores and their sacrifice of income under the agency model. Nevertheless, it decided that there was enough evidence of a horizontal conspiracy to proceed.

As Apple and the publishers fight the suit, courtroom precedents are stacked against them. Barry Hawk, the director of Fordham Law School’s Competition Law Institute, says that courts invoke two tests to adjudicate antitrust cases. In cases of vertical collusion, they typically use the “rule of reason,” which allows defendants to argue that they were acting in the interest of healthy competition. For horizontal collusion, they use the per-se rule, in which agreements to fix prices are illegal under any circumstances. Hawk told me that he can’t think of a single horizontal-conspiracy case in which defendants were found to have engaged in price-fixing and still won. “That’s how strong this is,” he says.

For the traditional publishing industry, the consequences of a loss could be dire. The consultant Mike Shatzkin says, “If Macmillan and Penguin were to lose their appeals, and the settlement between the D.O.J. and the three other publishers were allowed to stand, it would accelerate what is already an increasing concentration of book customers under Amazon’s control.” Amazon is the only publisher with ready access to consumers, and to their credit-card information. In the worst case, Shatzkin says, it will become the only company that can effectively create books and sell them to consumers. “The American trade-book publishing network of many publishers, wholesalers, and retailers will be effectively dismantled,” he says. “It will be too late then to recognize the dangers of concentration. It will not be possible to rebuild what will have been destroyed.”

In boxing, there’s the main event, and there’s the undercard—the warmup bouts that precede it. The fight between Amazon and book publishers could have profound repercussions for publishers, bookstores, and authors, yet to Amazon that fight is the undercard. The main event is a free-for-all among the five U.S. digital giants: Amazon, Apple, Google, Facebook, and Microsoft.

In late April, Microsoft invested three hundred million dollars in the Nook tablet. For Barnes & Noble, it was a tremendous boon, allowing it to keep alive, in however attenuated a form, the old-fashioned idea of the bookstore. For Microsoft, it was a hardware solution: a way to produce a more popular tablet computer. Although Amazon is intensely secretive about its data, the figures it has released show that content—books, music, movies, TV shows, newspapers, and magazines—produces less than half of its revenues. For Apple, too, content is a small part of its business. The real fight is elsewhere. The iPad and the Kindle Fire compete as mobile platforms, and all five companies will likely compete in collecting credit-card information. Google is testing a one-day shipping service for online shopping which targets Amazon. Google and Microsoft compete with Apple and Amazon to provide operating systems for mobile devices. Four of the five firms are working on some form of search, and all are interested in cloud computing, games, social media, and selling ads.

The fierce competition among them “is the next iteration of the U.S. v. Microsoft case,” Christine Varney, the former antitrust chief, says. The government has tried, with varying degrees of success, to police these companies: their privacy policies, their market dominance, their patent claims, their outsourcing of manufacturing, and their meagre tax payments. “Competition is good, so long as innovation remains viable for new entrants,” Varney said. “That’s the difficult thing to balance. Where does the competition between the big players promote our consumer welfare, and where does it inhibit new innovation?”

Tim Wu, who is sympathetic to Amazon in the fight against publishers, says, “I change my position,” when he considers the battle between digital giants. “The Internet industries are incredibly concentrated, and probably more concentrated than old media. We need to watch Amazon, Google, and Apple and the rest very carefully.”

Publishers know that they don’t have the money for a prolonged struggle with Amazon. John Sargent says, “These are huge companies, who are fighting a very large game. Whether it be for the sale of devices, or to own the shopper, or to own a particular set of tools that people use—they are fighting to get as big a piece of that as they can get.” Books, he says, are “in danger of becoming roadkill in that larger war.” ♦

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Monica Samayoa on covering climate change; National Book Critics Circle to announce finalists for its 2021 awards tonight

Artist Richard Kraft has started a podcast , Acts & Facts , that features conversations with artists, writers, scientists, and more about the books that have shaped them. Guests include Albert Mobilio, Marjorie Perloff, Lisa Pearson, and others.  

The Millions has posted its list of the most-anticipated books of the first half of 2022 and writers to watch for spring 2022. 

For their monthly “Covering Climate Now” column , Columbia Journalism Review talks with Monica Samayoa, a climate reporter and a member of the Uproot Project’s steering committee. Uproot is a network for journalists of color

Legendary fashion editor André Leon Talley has died; Alex Ross on Thomas Mann

André Leon Talley, the legendary fashion editor and stylist, has died at the age of seventy-three. He worked at Interview under Andy Warhol, as the chief of the Women’s Wear Daily ’s Paris bureau, and was the creative director and editor at large of Anna Wintour’s Vogue . In a 1994 New Yorker profile, Hilton Als wrote : “Talley’s fascination stems, in part, from his being the only one . In the media or the arts, the only one is usually male, always somewhat ‘colored,’ and almost always gay.” His memoir, The Chiffon Trenches , was published in 2020. 

The A.V. Club’s staff have been “invited” by

Blair McClendon on Lorraine Hansberry’s canonization; talking with Jodie Ginsberg of the Committee to Protect Journalists

The New York Magazine Union has reached an agreement with management after more than two years of negotiation.

At The Nation , Sam Huber interviews Nobel-winning poet Louise Glück about her new book, Winter Recipes for the Collective , her relationship with John Ashbery’s work, and what teaching means to her: “When I started teaching, I started writing again after the first very long period of silence that I’d ever had. And so I associated teaching with the restoration of speech.”

The playwright Lorraine Hansberry “achieved literary celebrity but called herself a ‘literary failure,’ was supported

Brandon Taylor reflects on “the trauma plot”; Sasha Frere-Jones on painter Etel Adnan’s poetry and prose

For the New York Times , Amanda Hess writes about several recent novels and films—from Claire Vaye Watkins’s I Love You But I’ve Chosen Darkness to Maggie Gyllenhaal’s The Lost Daughter —in which mothers leave their children. “Lately the vanishing mother has provoked a fresh response: respect.” In these narratives, “children are not abandoned outright,” and work outside of the home is sometimes implausibly regarded as “the ultimate escape.” Hess concludes: “Even as these stories work to uncover motherhood’s complex emotional truths, they indulge their own little fiction: that a mother only becomes

McKenzie Wark’s theory of Kathy Acker; “New York”magazine  union reaches a deal with management

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For the New Yorker , Casey Cep writes about Tema Stauffer’s photo series “Southern Fiction.” Stauffer’s subjects include William Faulkner’s kitchen, the street where Richard Wright grew up, and Eudora Welty’s library. But as Cep writes, “Stauffer’s

This year’s NEA Creative Writing Fellows; “The Point” launches its “Criticism in Public” interview series

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Benjamin Moser on Clarice Lispector; The 2022 Black Comic Book Festival begins this week

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In the new episode

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CUNY is offering a selection of journalism, writing, and video-storytelling classes to the public in January and February. All classes are offered

The Pacific Northwest Book Award winners; “High Country News” rounds up reader favorites of 2021

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Noname Book Club has sent five thousand books

Must-read reviews by Jennifer Wilson, Geoff Dyer, and more; Vote tomorrow on the word of the year

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FiveThirtyEight has posted a collection of podcasts and articles reflecting on last January’s insurrection at the Capitol. For Vox, Zack Beauchamp talks to experts about where American democracy may be heading.

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The Silvers-Dudley Prize winners for criticism and journalism; Lincoln Michel on the lack of bodies in contemporary fiction

The Robert B. Silvers Foundation has announced the winners of the inaugural Silvers-Dudley Prizes for criticism and journalism. Judged by Hari Kunzru, Drenka Willen and Madeline Schwartz, the awardees include Becca Rothfeld , Merve Emre, Vinson Cunningham, Elaine Blair, and more.

Dorothy, A Publishing Project has shared the two books they will publish in fall 2022: A Horse at Night: On Writing by Amina Cain, and Some of Them Will Carry Me by Giada Scodellaro.

At Boston Review , Robin D. G. Kelley and Bongani Madondo discuss Greg Tate’s life and work, and his writings on jazz in particular. As

Ben Smith is leaving the “New York Times”; new Norman Mailer discourse

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The Projects

2023 catalog.

We schedule orders every month. Follow us on Facebook or Instagram for updates. You may also send us eMail at [email protected].

Unbecoming by Angeli Lacson

In a series of brief notes, Unbecoming explores questions of loss, illness, pain, and disability. It attends to the minutiae of everyday life shaped by illness and injury to center the ordinariness of non-healthiness under capital and empire, as well as the ways in which this unwellness invites new forms of political belonging and solidarity.

elsewhere held and lingered by Conchitina Cruz

“What happens to the self when it permits the transgressive act? Past the boundaries of its predicament, the self in elsewhere held and lingered survives fractured, casting a vigorously unforgiving eye back on itself and fatally attentive to the mullioned and unsteady narratives to which it has opened itself up. Cruz’s second collection of poems is rigorously imagined and wrought with such tenacity that makes reading it a pleasure but none the less harrowing.”—Mabi David

2022 Catalog

Modus by conchitina cruz.

Poems inspired by academia, bad jokes, bureaucracy, dreams, ennui, fatigue, gerygones, guilt, misgivings, paper dolls, petty resentments, rooftops, self-importance, sewing, squandered love, submeters, wishes.

Dark Hours by Conchitina Cruz

“At this historical moment when the issue of how to respond to suffering is so fraught as to leave us speechless, the poems of Conchitina Cruz have found a way to speak. Here in this starkly beautiful volume, she has discovered a language sufficient to the terrors and the joys of the contemporary. The highest praise that can be given to any work of literature—and Dark Hours is most surely literature—is that it is contemporary. This is a very remarkable book.”—Lynn Emanuel 

When the World Ended I Was Thinking About the Forest by Glenn Diaz

Diaz maps a network of texts emerging from the experience of Philippine modernity and its various artifacts like nation and narrative even as the world hurtles toward ecological collapse. Part poetics, unsent love letter, and critique of knowledge production, it looks for the forest in the novels of Rizal and other fictions, in museum exhibits, webinars, buildings, bureaucratic reports, and legislation.

Punan ni Faye Cura

Sa Punan , nag-iimis at nagtatagni-tagni si Faye Cura ng mga teksto para magpalagay ng tinig ng iba’t ibang babae—manunulat, artista, mga tauhan sa mito, mistiko, mandirigma—sa tula. Gamit ang salin ni Anne Carson sa Ingles ng mga kapi (fragment) ni Sappho bilang batayang teksto, sinasalin ni Cura si Sappho sa pamamagitan ni Carson sa Filipino, pagkuwa ay nagsusulat sa tabi at pagitan ng mga linya, upang magpalitaw ng mga pagnanasa, tunggalian, at pananalig ng iba’t ibang tagapagsalita.

The El Bimbo Variations ni Adam David

Award-winning critical darling and perennial bestseller—at least one thousand print copies sold out— the El Bimbo Variations is now back in print with a new cover, one new variation, and half a dozen grammatical edits! Read, cry, and marvel at one of the best testaments to the endurance of art across language, culture, and history! Free to download here !

You Are Here by Mabi David

In You Are Here , Mabi David examines the role of the secondary witness in memorial work, confronting the limits and possibilities of speaking from the position of the bystander, tourist, researcher, archivist, and artist. First published in 2009, this book of poetry was written largely in response to David’s encounter with the archives of Memorare Manila, a committee consisting of the survivors of the Battle for Manila in 1945.

Paper Trail Projects is a small press dedicated to poetry and other investigations in language driven by the poetic impulse. It is a shoestring operation with a preference for the small-scale: small-sized books, slim volumes, zines, handmade artifacts, and ephemera. Founded by Conchitina Cruz and Adam David, Paper Trail Projects is interested in experiments with image and text, the retrieval and rereading of out-of-print or off-the-radar literature, as well as the literary production of grassroots communities and communities of writing outside the professionalized literary scene. PTP will begin seeking proposals and manuscripts for possible publication in late 2024.

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Review: Soul House and The Cheapest France in Town

Posted on May 10, 2024

Books discussed in this review:

By Mireille Gansel, translated from the French by Joan Seliger Sidney

World Poetry Books, 168 pp., $20.00 (paper)

The Cheapest France in Town

By Seo Jung Hak, translated from the Korean by Megan Sungyoon

World Poetry Books, 120 pp., $20.00 (paper)

Review by Stephen Meisel

The prose poem never fails to test our own definitions of poetry. As early as Baudelaire and Rimbaud, its effect has always been to blur lines between genres, tastes, and cultures. This is always the effect of hybrid forms–whether we’re talking about mockumentaries, lyric essays, or multi-media art installations. They can make us see things differently—even ourselves. The power of an unfamiliar experience can call our traditions and ingrained judgments into question.

What an artist does with this potential, though, is where the lightning strikes. Two titles from World Poetry Books, Mireille Gansel’s Soul House and Seo Jung Hak’s The Cheapest France in Town , introduce novel ways to let the current flow. The Cheapest France in Town slides onto the stage with a joke, a nod to poetry’s place in consumer culture:

The value of this book is, at present, the same as the lowest online exclusive price for a half box of thirty Shin instant noodles, though Shin would be slightly cheaper if you paid with a rewards card.

A careful comparison of prices before buying may be a great help to your life.

And right away, The Cheapest France in Town is off to the races, full of humor, space aliens whose planets are destroyed by an “ultraelectronicplanetaryprofessionaldestructive-formidableterrifyingantennalbeam,” and recipes for love that sound like a step-by-step for instant noodles. When its irony and wit let up, they’re often for moments of dystopia and ennui, with bureaucratic regimes and urban landscapes providing the backdrop, such as in the poem, “Dopamine,”:

When he opened his lunch he saw the word “freedom” written in black beans. His colleagues all groaned. Turned out he and his family were members of the rebel army. Right, we saw his underpants with words like “love” and “trust” stitched in the corner.

It’s rare we see a poet as occupied as Seo Jung Hak is with the low-down, the discarded, and the trivial: paper boxes and rewards cards, big red buttons and TV producers. In this world, poems are their own pathetic attempts at the high brow, drowned out in the noise of consumerism and everyday concern. We’re lucky, then, that Seo Jung Hak lets us in on the joke. After all, we’re reading a poetry collection that turns discount coupons, soap opera romances, and issues of Military Satellite Fans Monthly into something profound and delightful, where love, even in its most sentimental manifestations, is coupled with surreal imagery and pained absurdity, as in “Still, France”:

Laying in bed after checking it was raining out the window, troubling the black heavy curtain. Of course, the rain had been pouring incessantly for 13 years and turned off the light next to the bed. The room was entirely like an aquarium. The rippling shadows were dizzying.

To that point, translator Megan Sungyoon captures the fractured syntax, odd punctuation, and puns of Seo Jung Hak’s poems with such skill that all of these elements carry over into the first English translation of his work. The Cheapest France in Town only the second collection that Seo Jung Hak has published over the course of 18 years. Let’s hope we see more in the next twenty. Either way, “the same and tomorrow night garbage [is] going to be cleaned up. 

Where Seo Jung Hak uses humor and dissociation, the poems in Mireille Gansel’s Soul House , with their focus on history, memory, and migration, penetrate with sharpness and intensity. Her pieces pivot between complete sentences and fragments, with occasional punctuation. This style evokes how memory feels: variable tempos and overlapping ideas. Her French is conversational but not quite casual, and perhaps the biggest challenge here for translator Joan Seliger Sydney is capturing its unique pacing and measured tone, which both play off of French syntax and diction. What’s more, Sydney also preserves the multilingualism of poems that dip into meditations on German words or phrases or use unique French terms like maquisard . This is a vital choice in a collection so concerned with the potency of translation. 

At its core, Gansel’s collection is rooted in an ethereal clash between cultural specificity and those universal experiences of childhood and home, where our love of the meaningful and the beautiful can provide a refuge to renew our strength against violence and cruelty. It’s no surprise that Gansel is a seasoned translator herself. Soul House is full of investigations into what is lost in between the cracks of history and time, of how much our souls can carry over across languages and generations. Gansel’s own childhood, which she has written about in her long essay “Translation as Transhumance,” is not a boundary that separates her from other writers, but the foundation for an artistic practice that crosses borders. The Budapest of her childhood moves beyond a particular place at a particular time, full of “intonations of Hungarian mixtures over there on the side of the Danube you will have learned for life.” It becomes a jumping-off point into “a country of silence.”

In this country of silence, a house that all people living and dead can inhabit, Ganselle conjures silhouettes of figures both monumental and forgotten–on a scale spanning several decades and multiple continents. Quotes from Mahmoud Darwish and Anna Akhmatova are just as likely as accounts of Austrian museum visits and English puffin migrations. Broader discussion about translation blends with blurred remembrances, both personal and retold. All of it provides the source material for Gansel’s concerns over the point of beauty and role of language, for which her poetry is a loyal and constant conduit. The metaphor that extends throughout the book is a comparison between poetry and architecture. It begins with the first poem, “to inhabit beauty”:

beauty is a house one inhabits perhaps the first one perhaps the only one–

against all odds

Gansel returns to this idea in “the meeting point”:

I understood that hospitality is to become at our turn your hosts and suddenly in the full noon sun there was this space to say with your own words your roads of exile your words like a shared house–

One of the more indicative moments in the collection gives even further definition to this idea. In the poem “leave no trace,” Ganselle reads Walter Benjamin’s Pariser Passagen in London, where she discovers the word Gehäuse, which Benjamin defines as ‘“where one takes shelter. Finds refuge.’” It’s a quiet moment in a book whose empathy and heart stretch across long distances and over so much catastrophe, but it perfectly captures this collection’s core: language and translation as forces that allow us all to find safety and refuge. It’s true, then, that Gansel’s lyrical pieces make for great shelters.

Soul House and The Cheapest France in Town sit at opposite ends of the emotional spectrum. In both books, though, you’ll find distinguished writers who captivate and challenge with a poise as light as air. The Cheapest France in Town succeeds triumphantly as a curious, ironic blend of unchecked consumption, malaise, and the absurd. Soul House , with its faith in intellectuals and artists, “to inhabit beauty against all odds,” provides a prime example of this beauty in action. Joan Seliger Sidney and Megan Sungyoon have done Anglophone readers a great service by introducing us to two poets of distinct and thrilling voices.

Stephen Meisel is a writer living in Atlanta, GA. His fiction and reviews have appeared in X-R-A-Y , Southern Review of Books , and Heavy Feather Review . He can be reached at [email protected]

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• NATURE INDEX
• 01 May 2024

Plagiarism in peer-review reports could be the ‘tip of the iceberg’

• Jackson Ryan 0

Jackson Ryan is a freelance science journalist in Sydney, Australia.

You can also search for this author in PubMed   Google Scholar

Time pressures and a lack of confidence could be prompting reviewers to plagiarize text in their reports. Credit: Thomas Reimer/Zoonar via Alamy

Mikołaj Piniewski is a researcher to whom PhD students and collaborators turn when they need to revise or refine a manuscript. The hydrologist, at the Warsaw University of Life Sciences, has a keen eye for problems in text — a skill that came in handy last year when he encountered some suspicious writing in peer-review reports of his own paper.

Last May, when Piniewski was reading the peer-review feedback that he and his co-authors had received for a manuscript they’d submitted to an environmental-science journal, alarm bells started ringing in his head. Comments by two of the three reviewers were vague and lacked substance, so Piniewski decided to run a Google search, looking at specific phrases and quotes the reviewers had used.

To his surprise, he found the comments were identical to those that were already available on the Internet, in multiple open-access review reports from publishers such as MDPI and PLOS. “I was speechless,” says Piniewski. The revelation caused him to go back to another manuscript that he had submitted a few months earlier, and dig out the peer-review reports he received for that. He found more plagiarized text. After e-mailing several collaborators, he assembled a team to dig deeper.

Meet this super-spotter of duplicated images in science papers

The team published the results of its investigation in Scientometrics in February 1 , examining dozens of cases of apparent plagiarism in peer-review reports, identifying the use of identical phrases across reports prepared for 19 journals. The team discovered exact quotes duplicated across 50 publications, saying that the findings are just “the tip of the iceberg” when it comes to misconduct in the peer-review system.

Dorothy Bishop, a former neuroscientist at the University of Oxford, UK, who has turned her attention to investigating research misconduct, was “favourably impressed” by the team’s analysis. “I felt the way they approached it was quite useful and might be a guide for other people trying to pin this stuff down,” she says.

Peer review under review

Piniewski and his colleagues conducted three analyses. First, they uploaded five peer-review reports from the two manuscripts that his laboratory had submitted to a rudimentary online plagiarism-detection tool . The reports had 44–100% similarity to previously published online content. Links were provided to the sources in which duplications were found.

The researchers drilled down further. They broke one of the suspicious peer-review reports down to fragments of one to three sentences each and searched for them on Google. In seconds, the search engine returned a number of hits: the exact phrases appeared in 22 open peer-review reports, published between 2021 and 2023.

The final analysis provided the most worrying results. They took a single quote — 43 words long and featuring multiple language errors, including incorrect capitalization — and pasted it into Google. The search revealed that the quote, or variants of it, had been used in 50 peer-review reports.

Predominantly, these reports were from journals published by MDPI, PLOS and Elsevier, and the team found that the amount of duplication increased year-on-year between 2021 and 2023. Whether this is because of an increase in the number of open-access peer-review reports during this time or an indication of a growing problem is unclear — but Piniewski thinks that it could be a little bit of both.

Why would a peer reviewer use plagiarized text in their report? The team says that some might be attempting to save time , whereas others could be motivated by a lack of confidence in their writing ability, for example, if they aren’t fluent in English.

The team notes that there are instances that might not represent misconduct. “A tolerable rephrasing of your own words from a different review? I think that’s fine,” says Piniewski. “But I imagine that most of these cases we found are actually something else.”

The source of the problem

Duplication and manipulation of peer-review reports is not a new phenomenon. “I think it’s now increasingly recognized that the manipulation of the peer-review process, which was recognized around 2010, was probably an indication of paper mills operating at that point,” says Jennifer Byrne, director of biobanking at New South Wales Health in Sydney, Australia, who also studies research integrity in scientific literature.

Paper mills — organizations that churn out fake research papers and sell authorships to turn a profit — have been known to tamper with reviews to push manuscripts through to publication, says Byrne.

The fight against fake-paper factories that churn out sham science

However, when Bishop looked at Piniewski’s case, she could not find any overt evidence of paper-mill activity. Rather, she suspects that journal editors might be involved in cases of peer-review-report duplication and suggests studying the track records of those who’ve allowed inadequate or plagiarized reports to proliferate.

Piniewski’s team is also concerned about the rise of duplications as generative artificial intelligence (AI) becomes easier to access . Although his team didn’t look for signs of AI use, its ability to quickly ingest and rephrase large swathes of text is seen as an emerging issue.

A preprint posted in March 2 showed evidence of researchers using AI chatbots to assist with peer review, identifying specific adjectives that could be hallmarks of AI-written text in peer-review reports .

Bishop isn’t as concerned as Piniewski about AI-generated reports, saying that it’s easy to distinguish between AI-generated text and legitimate reviewer commentary. “The beautiful thing about peer review,” she says, is that it is “one thing you couldn’t do a credible job with AI”.

Preventing plagiarism

Publishers seem to be taking action. Bethany Baker, a media-relations manager at PLOS, who is based in Cambridge, UK, told Nature Index that the PLOS Publication Ethics team “is investigating the concerns raised in the Scientometrics article about potential plagiarism in peer reviews”.

How big is science’s fake-paper problem?

An Elsevier representative told Nature Index that the publisher “can confirm that this matter has been brought to our attention and we are conducting an investigation”.

In a statement, the MDPI Research Integrity and Publication Ethics Team said that it has been made aware of potential misconduct by reviewers in its journals and is “actively addressing and investigating this issue”. It did not confirm whether this was related to the Scientometrics article.

One proposed solution to the problem is ensuring that all submitted reviews are checked using plagiarism-detection software. In 2022, exploratory work by Adam Day, a data scientist at Sage Publications, based in Thousand Oaks, California, identified duplicated text in peer-review reports that might be suggestive of paper-mill activity. Day offered a similar solution of using anti-plagiarism software , such as Turnitin.

Piniewski expects the problem to get worse in the coming years, but he hasn’t received any unusual peer-review reports since those that originally sparked his research. Still, he says that he’s now even more vigilant. “If something unusual occurs, I will spot it.”

doi: https://doi.org/10.1038/d41586-024-01312-0

Piniewski, M., Jarić, I., Koutsoyiannis, D. & Kundzewicz, Z. W. Scientometrics https://doi.org/10.1007/s11192-024-04960-1 (2024).

Article   Google Scholar  

Liang, W. et al. Preprint at arXiv https://doi.org/10.48550/arXiv.2403.07183 (2024).

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