Role of a Book Cover?

Madelyn Johnson has an article on the Literary Hub website, dated yesteday, which explores some of the roles of the cover of a book.

Madelyn Johnson is currently the Coordinator for the Art Department at HarperCollins Publishers. She is also an essayist, playwright, and poet based in New York City. Her written work has appeared in Dreamworldgirl Zine, Local Wolves, and Luxury Literature, among others. You can find her on Substack @madelynmay.substack

Madelyn Johnson

Ms Johnson wrote: “I work in the Art Department at HarperCollins, where I have a front-row seat to the conversations that shape how books appear in the world. What kind of cover art reads as “literary” versus “commercial,” what signals a “book club book,” what feels “serious” versus “friendly,” and increasingly, how to make a cover socially legible online. Covers today are expected not only to attract readers in bookstores, but to circulate fluidly through Instagram posts, TikToks, Substack photos, and carefully curated apartment interiors. Books are now asked to function simultaneously as texts and as lifestyle objects, and designers are now tasked with imagining multiple scales of reach simultaneously, from the bookstore table to the phone screen.

In the before times, a cover served primarily as an interpretation of the text: a visual invitation intended to both entice readers and help them understand the book’s content. When working on a new cover, designers would ask themselves: What is this novel? What emotional experience does it promise? These were the questions they attempted to answer though their work.

Today, another question has quietly entered the designer’s studio: How does the reader of this book want to be perceived? Or more bluntly: Who do they want to be?

These questions do not replace the original brief, but they do increasingly compete with it, in a shift that has placed a new but largely unspoken pressure on book cover designers. A cover no longer simply needs to communicate genre or tone. It must also construct an identity that a reader of that book can inhabit. If book covers once translated text for their readers, they now operate in reverse: translating readers for their audiences. In this context, the old adage has been inverted from don’t judge a book by its cover to judge a reader by the covers on their books.

Inside publishing, this shift is often discussed indirectly. We talk about whether a cover feels like its intended reader, whether it’s “shareable,” whether it has enough “pop” to draw the eye, whether the cover can be easily made into merch, whether it reaches younger readers, or whether it looks too academic, too commercial, too feminine, too masculine. These are practical marketing conversations, but beneath them sits a larger cultural assumption: that readers increasingly relate to books as images before (if ever) they encounter them as texts.

Perhaps that’s only to be expected. As Olivia McGiff, Assistant Art Director at HarperCollins, put it to me, “There are plenty of times where, if I were to come into a cover meeting midway without context, the discourse could be mistaken for a very different kind of aesthetic grooming. ‘That one looks too angry. I like the friendlier ones, it’s more inviting.’ ‘I’d actually pick that one up, the other is too harsh and serious.’ ‘I just want it to be pretty, not too sad.’ Change the pronouns and we’re at a bar in Murray Hill.”

The contrast between contemporary commercial fiction and prestige literary fiction makes these efforts especially visible. An Emily Henry novel announces warmth, wit, emotional accessibility, and optimism through bright palettes, graphic illustration, and playful typography. Elena Ferrante’s redesigned novels, by contrast, often perform seriousness through restraint: muted colors, sparse compositions, elegant type, and an almost studied refusal of trendiness. Neither approach is simply about the novel itself. Each constructs a reader profile. One imagines someone who wants to feel—and appear—contemporary and stylish; the other imagines someone who wants to seem effortless and understated.

Appear and seem to whom, you ask? Who exactly is this imagined social identity for? Why, the internet, of course.

Social media has become a culture of constant public self-curation in which nearly every visible object becomes part of one’s identity construction. Books now function alongside clothing, furniture, skincare products, and playlists as aesthetic building blocks of who someone is or—or at least how they want to be perceived. Compared to many lifestyle objects, however, books carry an additional moral and intellectual load. Books suggest education, interiority, discipline, and sensitivity. Or at least, they implies the performance of those qualities. I say books, but of course, what I really mean is book covers: the outward-facing surface of reading itself, which is the only thing truly communicated by these images. And like fashion or beauty, that surface is deeply shaped by gendered expectations about how intelligence, emotion, and taste should appear in public.

Consider the figure of the “cool girl” reader: effortlessly intelligent, casually literary, emotionally fluent but never overwhelming. Think of Kaia Gerber’s widely publicized Library Science book club, Miu Miu’s Literary Club events in Milan, or Instagram accounts like @coolgirlsreading, where books are framed less as intellectual engagements than as extensions of an already aspirational lifestyle. Intelligence appears ambient. Literary taste functions as texture. The book becomes part of a broader visual vocabulary of effortless (but always rich, and always hot) sophistication: Lit Hub Joan Didion tote bags, annotated paperbacks, expensive knitwear, iced coffee balanced beside a copy of The Bell Jar.

Even if you have never read The Bell Jarcontemporary cover redesigns tell you exactly what kind of reader the book imagines. Curved lettering, retro color palettes, soft illustrations, and new forewords by literary “it girls” position the novel less as a text and more of an accessory to an easily recognizable feminine character: sad, hot, intelligent, aesthetically composed yet messy. The Girl, Interrupted girl. The book becomes part of the costume of a specific kind of performance.

Once that happens, readers themselves begin to feel categorized by the books they carry. Certain genres, authors, and visual styles come to imply entire social identities before a single page has been opened. The risk is not simply performative reading. It is that literary curiosity itself narrows. Readers become less willing to choose books that do not fit the identities their shelves, feeds, or public selves have already established.

Book cover design now operates within the same economies of aspiration, branding, and self-curation that shape fashion. A successful cover must now communicate not only what a novel means, but what being seen with that novel means. When literature becomes valuable primarily as social aesthetic, the danger is not superficiality alone. It is the gradual replacement of intellectual curiosity with brand alignment, of private engagement with public performance, and of reading itself with the appearance of being the kind of person who reads.”

The Author or AI: Who Wrote It?

There is an article on the Literary News website by Ashish for Literature News on a major controversy affecting the future of literature.

Ashish writes, “In March 2026, the publishing world found itself confronting one of its most unsettling questions yet: what happens when the boundary between human creativity and machine-generated content becomes indistinct? The controversy surrounding Shy Girl, a horror novel by Mia Ballard, brought this question into sharp and uncomfortable focus. Originally published in the United Kingdom in late 2025, the book was scheduled for a wider release in the United States through Hachette Book Group. That release was abruptly halted. The publisher not only withdrew the American edition but also discontinued the UK version, a decision that signalled far more than routine editorial reconsideration. It marked a moment of deep institutional anxiety about authorship, authenticity and the future of literary production.

The immediate trigger for this withdrawal was a wave of online scrutiny that questioned the originality of the text. Analysts and readers began to examine the novel closely, with some claiming that a significant portion of the work bore the hallmarks of AI-generated writing. One widely circulated estimate suggested that as much as 78 per cent of the text could have been produced with the assistance of artificial intelligence. Whether or not such figures can be verified with precision is almost beside the point. What matters is that the perception of machine authorship was strong enough to compel one of the world’s largest publishing houses to take decisive action.

Hachette’s public response was carefully worded but unmistakably firm. The company reiterated its commitment to “original creative expression,” a phrase that now carries new weight in an industry increasingly shaped by technological intervention. The withdrawal of Shy Girl was not framed as a punitive measure against an individual author, but as a defence of a principle. Yet beneath this measured language lies a deeper uncertainty. What exactly constitutes originality in an era where writers may use AI tools for drafting, editing, or ideation? And where should publishers draw the line between assistance and authorship?

Mia Ballard, for her part, strongly denied that the novel was primarily generated by artificial intelligence. She attributed the controversy to earlier versions of the manuscript, suggesting that an editor associated with a self-published edition may have introduced AI-generated material without her full awareness. Ballard also indicated that she was considering legal action, arguing that the allegations had damaged her reputation and professional standing. Beyond the legal and professional dimensions, there were also human consequences. Reports suggested that the intense scrutiny and public criticism had taken a toll on her mental health, highlighting the personal cost of a controversy that quickly escalated beyond the confines of literary debate.

The Shy Girl episode has unsettled the publishing industry not simply because of the specifics of the case, but because of what it reveals about the fragility of existing frameworks. For decades, publishing has relied on a relatively stable understanding of authorship. A book was assumed to be the product of a human mind, shaped through imagination, labour and revision. AI disrupts that assumption at its core. It introduces the possibility that a text may be partially or substantially generated by systems trained on vast corpora of existing literature, raising questions about originality, ownership and ethical responsibility.

What has sent what many insiders describe as a “cold shiver” through the industry is the realisation that detection itself is uncertain. Unlike plagiarism, which can often be identified through direct textual comparison, AI-generated content does not necessarily replicate existing passages. It produces new combinations, making it far more difficult to prove or disprove machine involvement. This ambiguity places publishers in a precarious position. Act too late, and they risk reputational damage. Act too quickly, and they risk penalising authors without conclusive evidence.

The controversy has also exposed a widening gap between technological capability and institutional preparedness. Writers are already experimenting with AI tools in various ways, from brainstorming ideas to refining prose. Some view these tools as extensions of the creative process, analogous to earlier technological shifts such as word processors or digital research databases. Others see them as fundamentally different, arguing that AI introduces an external agency into what has traditionally been an intensely personal act of creation. The industry has yet to arrive at a consensus, and the Shy Girl case demonstrates how urgently such a consensus is needed.

From an editorial standpoint, the incident raises uncomfortable but necessary questions. Should publishers require full disclosure of AI usage in manuscripts? If so, how detailed should that disclosure be? Is there a threshold beyond which a work ceases to be considered authentically human? And perhaps most critically, how can these standards be enforced in a way that is both fair and transparent? At present, there are few clear answers. What exists instead is a growing recognition that the rules governing literary production are being rewritten in real time.

There is also a cultural dimension to this debate that cannot be ignored. Literature has long been valued not only for its aesthetic qualities but for its human origins. Readers engage with books as expressions of individual consciousness, shaped by lived experience and emotional depth. The suspicion that a work may be largely machine-generated disrupts that relationship. It introduces a layer of doubt that affects not only the text itself but the reader’s trust in the publishing ecosystem as a whole.

At the same time, it would be simplistic to frame the issue as a binary conflict between human and machine. The reality is more complex. AI tools are already embedded in many aspects of writing and publishing, from grammar checking to market analysis. The challenge lies in distinguishing between augmentation and substitution, between tools that support creativity and systems that replace it. The Shy Girl controversy forces the industry to confront this distinction with a level of urgency it can no longer defer.

In many ways, this incident may prove to be a turning point. It has compelled publishers, authors and readers to engage with questions that were previously theoretical, and perhaps never thought of in the board meetings. It has exposed vulnerabilities in editorial processes and highlighted the need for clearer ethical guidelines. Most importantly, it has underscored the value of transparency. In an environment where the origins of a text can no longer be taken for granted, openness about the creative process may become as important as the work itself.

Also, let me pose an even broader question. Why are publishers fearing AI-generated text? If the ultimate goal of reading is extracting pleasure and feeling relieved, why should an issue be made of the origin of the text? As far as the text is providing us with reading pleasure, I would refrain from getting into the depths of the genesis. Yes, the opinions may vary, and serious readers (as well as critics) may pose even serious questions. However, it needs to be debated with openness in mind rather than cancelling the AI-text.

For now, the fate of Shy Girl remains a cautionary tale. It is a reminder that the publishing industry is entering a period of profound transformation, one in which the definition of authorship itself is under negotiation. The anxiety it has generated is not merely about one book or one author. It is about the future of literature in an age where the line between human imagination and artificial generation is becoming increasingly difficult to discern.”

The End of Reading?

The Atlantic has just released an article by Rose Horowitch which suggests a major human tragedy: “Optimists once believed that universal literacy was inevitable. Now it seems that the age of reading might be a short anomaly in human history.”

This article tells a sad story, but it is long. I have tried to edit the text down, but I kept finding little factual nuggets that I had to leave. I suggest you may want to browse and skim.

Rose Horowitch is a staff writer at The Atlantic.

Rose Horowitch

Rose writes: “Twenty-three hundred years ago, the legend goes, King Ptolemy I of Egypt asked his court adviser to assemble a comprehensive collection of the world’s written works. Ptolemy, who had served under Alexander the Great, envisioned a library that would safeguard the sum total of humanity’s knowledge. His successors inherited this mandate. Royal forces ransacked every ship that arrived at Alexandria, searching for scrolls. These were stored at the Mouseion, a shrine to the Muses modeled after Aristotle’s Lyceum. Aristotle’s own book collection was said to be among the holdings.

Much of the history of the Library of Alexandria has been lost. But we know that it was the site of many of the premodern world’s greatest intellectual achievements. The king paid scholars to live and work in the library, and the collection was available to anyone “eager to study, an encouragement for the entire city to gain wisdom,” a visiting Greek rhetorician wrote. It was at the library that Eratosthenes calculated Earth’s circumference and Zenodotus edited the earliest manuscripts of Homer’s epics. Euclid, who wrote the Elements of geometry, may have studied there as well.

This run of scholarship would not last. By 400 C.E., the library had disappeared. Many scholars regard its destruction as the greatest loss of knowledge in history and the beginning of the Dark Ages. Historians have spent centuries parsing fragments of papyrus in an effort to understand what went wrong.

Traditionally, the answer was believed to be war. During the Siege of Alexandria, in 48 B.C.E., Julius Caesar started a fire that incinerated at least 40,000 scrolls. The library survived in diminished form until the fourth century C.E., when followers of the archbishop of Alexandria sacked the pagan temple that housed the remaining manuscripts. But contemporary historians tend to dismiss the importance of these dramatic incidents in favor of a more mundane cause of death: negligence.

Maintaining the collection was an enormous expense. Humidity, mice, and insects slowly ate away at the papyrus scrolls. Scribes had to continually copy old texts before they deteriorated and became illegible. Eventually, the challenges of maintaining the library became greater than the will to preserve it. “It is not that the disappearance of a library led to a dark age, nor that its survival would have improved those ages,” the classics scholar Roger Bagnall has written. The fact that the library was allowed to die showed that the dark age had already arrived.

Some 2,000 years later, under very different circumstances, the darkness is gathering again. Americans, once members of a proudly literate society, read much less than they used to. According to the National Endowment for the Arts, which conducts the most comprehensive survey of the nation’s reading habits, fewer than half of all adults reported having read a book of any kind in 2022. Only 38 percent read a novel or short story. A study analyzing 236,000 responses to the American Time Use Survey found that the proportion of Americans who read for pleasure on any given day fell from 28 percent in 2004 to 16 percent in 2023. (The study looked at people who had read a book, magazine, or newspaper; listened to an audiobook; or read an e-book.) Gambling has become a more common leisure activity than reading a book: Last year, 57 percent of Americans placed a bet.

The decline in reading cuts across age groups, gender, and education levels. Even the demographics that traditionally read the most—retirees, women, and college graduates—have seen a collapse.

The books that people do read are simpler than they used to be. New York Times best sellers today have sentences that are about one-third shorter than they were a century ago. Longer sentences aren’t inherently better. But their former ubiquity suggests an age when Americans had the inclination and ability to read serious works of literature. In 1958, the English translation of Boris Pasternak’s Doctor Zhivago was the best-selling novel of the year, according to Publishers Weekly. Pasternak writes in long, complex sentences: “On that warm gray morning in the mountains, Zhivago felt sorry for the Tsar, was disturbed at the thought that such diffident reserve and shyness could be the essential characteristics of an oppressor, that a man so weak could imprison, hang, or pardon.”

Last year’s top-selling novel was Sunrise on the Reaping, the latest in the Hunger Games young-adult series. Brian Bannon, the chief librarian at the New York Public Library, told me that young-adult fiction is one of the library’s most popular offerings—including among decidedly not-young adults. (Other titles in the top 10 include the children’s books Partypooper, the 20th installment in the Diary of a Wimpy Kid series, and Dog Man: Big Jim Believes.) The most popular novel written for adults was the romantasy adventure Onyx Storm. Whatever the book’s pleasures, it isn’t Pasternak: “A muscle in his square jaw ticks as he stares down at me, rippling the tawny-brown skin of his stubbled cheek.”

Americans also get much less of their news through reading than they once did. In 1975, about half of 20-somethings said they read the newspaper every day. Today less than 10 percent do. Most Americans now get the news on their phones and laptops, and 40 percent say they prefer to watch or listen to online news rather than read it.

This shift is often referred to as a literacy crisis. And it’s true that Americans’ basic reading skills are declining. Fourth- and eighth-grade reading scores have slid for the past decade. Amanda Kordeliski, who is on the board of the American Association of School Librarians, told me that she and her fellow librarians have had to buy new books to accommodate students’ diminished reading levels. Some of the most popular are graphic novels: updated classics such as the Magic Tree House series for elementary-school students, and manga for middle and high schoolers.

In 2024, in a national test, just 35 percent of high-school seniors were “proficient” at skills such as analyzing complex fictional themes and evaluating the effectiveness of an author’s argument. About the same number scored below “basic,” meaning that they may struggle to draw conclusions from concepts explicitly included in a text, or to use context clues to determine the meaning of an unknown word. Adult-literacy scores have also dropped: Nearly 30 percent of American adults cannot paraphrase or make inferences from a multipage text. In 2017, that number was less than 20 percent.

And yet, strangely, Americans are probably reading more words than ever before. What has changed is what they read, and how. People are bombarded with emails, text messages, X posts, Reddit threads, Instagram captions. This explosion of textual fragments has come at the expense of devoting sustained attention to longer written works that convey rich and complicated information. Maryanne Wolf, a cognitive neuroscientist at UCLA, argues that people are losing the ability to think deeply about writing. That doesn’t mean they are forgetting how to decode individual words. Rather, they are losing the higher-order abilities of comprehension and synthesis. America, in other words, isn’t illiterate. It’s postliterate.

Things are about to get worse, and fast. The next generation reads much less than today’s adults did when they were kids. Kindergarten teachers say that many of their students don’t know nursery rhymes or fairy tales, Benjamin Powers, the director of Yale and the University of Connecticut’s Haskins Global Literacy Hub, told me. (In the study of 236,000 American adults, only 2 percent read to a child on a given day.) From 1984 to 2025, the percentage of 13-year-olds who said they rarely or never read for fun rose from 8 to 29 percent. Every year older a child gets, the less they like to read. Robert Townsend, a program director at the American Academy of Arts and Sciences, recently ran focus groups asking high-school students how they felt about reading for pleasure. He told me that most thought of it as an alien practice.

Reading has come to seem extraneous even to some of the best-educated members of society. Margaret Rennix, Harvard’s assistant director for humanities and social-sciences support, told me she’d spoken with a student who was struggling to read a book written in Old English. The culprit: Anthony Burgess’s 1962 novel A Clockwork Orange. (The student used ChatGPT to “translate” the book into easier language.) Not long ago, a Harvard sociology professor, troubled by course evaluations in which students said they resented the amount of dense reading they were assigned, asked Rennix to speak to his class in defense of reading. She had to explain—to students at America’s most elite university, taking a course in a discipline rooted in written observation, argumentation, and analysis—that excerpts and summaries cannot capture the depth and sophistication of a complete primary text. Rennix told me that some students now view reading as an unnecessarily burdensome way of acquiring knowledge. “By asking them to read,” she said, “professors are arbitrarily withholding information from students by forcing them to get it through this more difficult medium.”

It may seem self-serving for a writer at a 169-year-old magazine to carry a torch for reading. But the people who make a living from words are not the only ones who lose out in a postliterate age. Reading is more than a skill, or one mode of communication among many. The media we use to interact with one another shape the world we inhabit. Early humans spent millennia communicating only by voice. The advent of reading and writing transformed society. It altered people’s consciousness and politics, along with the intellectual feats they were capable of. The decline of reading will bring about changes of the same magnitude. It will affect our innermost thoughts, our society’s politics and culture, and how we tell the history of our civilization. If we look closely, we can see that these changes have already begun.

Reading has never been natural. Humans have no innate cognitive machinery designed to string letters into words and connect them to their real-world analogues. To read, people had to repurpose regions of their brain used for speech and object recognition. The practice first emerged 6,000 years ago in Mesopotamia. For millennia afterward, most of the population was illiterate. Literacy became a mass phenomenon relatively recently, after Johannes Gutenberg invented the printing press in 1440.

The written word is fundamentally different from oral language. Writing detaches the message from the messenger, allowing for a more dispassionate spread of information than was possible in oral societies. Because writing a phrase takes longer than speaking it, writing forces the author to slow down and reflect. Written language tends to employ more complex sentence structures and vocabulary than spoken language. And unlike speech, it doesn’t disappear into the ether. Readers can return to a text and plumb it for new meaning and understanding. Because writing endures, individuals can temporarily forget what they’ve written but trust that it won’t be lost forever. This frees up the mind to think of new ideas and make new discoveries.

“More than any other single invention, writing has transformed human consciousness,” Walter J. Ong, a historian and Jesuit priest, wrote in his 1982 book, Orality and Literacy. He argued that literacy created the conditions for inner concentration, extended focus, and logical deduction. It allowed for a new kind of rational, linear, and analytical thought.

Later scholars would attribute some of these new modes of thinking to other aspects of living in a literate society, not to reading alone. But Ong’s larger argument stands: Print cultures value lengthy, organized arguments. “Writing freezes speech and in so doing gives birth to the grammarian, the logician, the rhetorician, the historian, the scientist—all those who must hold language before them so that they can see what it means, where it errs, and where it is leading,” Neil Postman wrote in 1985. The advent of reading and writing was a precondition for philosophy, modern science, history as an academic enterprise, art criticism.

These changes were hugely destabilizing. As literacy spread through societies, it contributed to political upheaval and revolutions. In the American colonies, the leaders of the patriot cause employed newspapers and pamphlets to foment anti-British sentiment. “The ancient Roman and Greek Orators could only speak to the Number of Citizens capable of being assembled within the Reach of Their Voice,” Benjamin Franklin wrote in 1782. “Now by the Press we can speak to Nations; and good Books & well written Pamphlets have great and general Influence.”

America’s Founders used a print document to construct their new nation and believed that the system they had devised would work precisely because citizens would be informed readers. Franklin was himself a newspaper publisher and established America’s first lending library. “These libraries have improved the general conversation of the Americans,” he wrote in his autobiography, and “made the common tradesmen and farmers as intelligent as most gentlemen from other countries.” Early on, Americans came to see staying informed as a civic and even moral imperative.

Nor was access to reading evenly distributed. For a long time, large numbers of Americans couldn’t pass the federal government’s literacy test—especially in the South, where preventing Black literacy was a pillar of white-supremacist government.

But from the beginning, literature was a crucial source of entertainment, meaning, and connection for many Americans. They shared a set of references from the Bible and English literature. Charles Dickens was sufficiently beloved by American readers that when he got his hair cut during a visit to New York City in 1842, admirers flocked to collect clippings from the barber.

Viewed from the present, the America of the 1950s and ’60s doesn’t seem postliterate. After the war, the nation had become wealthier and more highly educated at a remarkable pace. Its appetite for the written word and its veneration of the intellectuals who produced it seemed poised to grow and grow. In 1964, Time, which then had a circulation of more than 3 million, ran a cover story on John Cheever, the author known for his dark fables of suburban malaise. The article, “Ovid in Ossining,” opened with an extended quotation from the invocation of Metamorphoses. In Cheever’s famous story “The Five-Forty-Eight,” the protagonist boards the titular train and is greeted by a then-familiar, now-exotic sight: a car full of commuters reading the evening newspaper.

But television was changing the rhythms and habits of American life. In 1985, Postman, a friend and disciple of McLuhan’s, published Amusing Ourselves to Death. He argued that television had hijacked Americans’ attention and turned politics into cheap entertainment. “The problem is not that television presents us with entertaining subject matter but that all subject matter is presented as entertaining,” Postman wrote. “Television is our culture’s principal mode of knowing about itself.” At the time, the average American household watched more than seven hours of television every day, a number that would rise to nearly nine hours by 2010.

If TV crowded out the silent time necessary for reading, broadband internet and the smartphone make it nearly impossible. Not too long ago, at-home screen entertainment was finite. Shows aired on a certain day, at a certain time. If you wanted to watch an old movie, you had to put your shoes on and go to a video store. Books could compete in that environment. Some people, at least, would turn off the TV and read a book before falling asleep.

When people do read, they might find that they’re absorbing less information. That’s especially true if they read on their phone. The endless scroll, hyperlinks, and notifications invite surface-level reading, with constant invitations to look elsewhere. Studies have shown that people comprehend less when reading on a digital device than on paper, perhaps because of all these distractions. Devoting extended, undivided attention to a text can now feel like too much to ask. Audiobooks have become a popular alternative to print books at least in part because listening to a book allows for multitasking: You can read while doing the dishes or driving to work.

Faced with shrinking attention spans and declining comprehension, schools might have been expected to resist the impulse toward shorter passages and shallower reading. Instead, they spurred it on. A 2025 survey found that most middle- and high-school English teachers assigned zero to four books a year. Successive waves of education reforms have led districts to favor short passages over full books, the better to mimic multiple-choice reading-comprehension exams. Many of the most popular school curricula now rely on excerpts. Annemarie Cortez, the principal at an elementary school in Corona, California, told me that many administrators are instructing teachers not to assign full books; they’re supposed to be running discrete reading drills with short excerpts.

Meanwhile, digital devices have flooded American classrooms. In a New York Times survey, more than 80 percent of elementary-school teachers said students receive a school-issued device by the time they enter kindergarten. Lupita Villalobos, who teaches 3-year-olds at a pre-K in Duncanville, Texas, told me that the district gives each student a tablet to use during school. She’s prevented her students from using the devices, as she knows how much time they spend on them at home. “I had a student who had a very strong reaction to starting school,” she said. “Typically, students cry maybe the first couple weeks and say they want their mom. But this student would cry for her tablet.”

In the recent past, people were at least reading something online, but that’s changing fast. Social media, once mainly text-based, has been overrun with short-form videos. TikTok, YouTube Shorts, and Instagram Reels dominate the attention economy, especially among young people. According to a recent data analysis by Jean Twenge, a psychology professor who studies generational change, by eighth grade, the average kid spends four and a half hours a day on social media. For much of that time, it appears, they are watching videos, often at 2x speed. Even text messages have taken on characteristics of the spoken word. People use all caps to indicate heightened emotion and avoid the formality of proper punctuation, which now seems stilted, even stern. Like many 20-somethings, my friends and I have mostly moved on from texts, preferring to send one another voice recordings instead.

The written word has survived for thousands of years and overcome successive challenges from new technologies. It’s clearly resilient. Reading rates might fluctuate, but optimists argue that the long arc of history points toward universal literacy. Martin Puchner, a comparative-literature professor at Harvard, studies how literature has shaped history. He’s spent decades tracing how communication technologies have changed, and the panics those changes have triggered. For much of his career, he was skeptical of fears about the end of reading. “If the long history of changes in writing technologies has taught me anything, I think it’s that one should always resist the kind of doomsday scenarios,” he told me.

And yet, even Puchner now believes that the doomsday scenario has arrived: A return to text, away from video, seems awfully unlikely. Maybe McLuhan and Postman weren’t wrong in predicting that our society would become postliterate. They were merely early. The world that these theorists foresaw half a century ago is now here. The literate era will prove to be a brief interlude between the oral and digital ages.

Reading shaped the modern mind. Its disappearance will reshape it. Cognitive scientists are starting to understand what these changes might look like. I asked a dozen of them what happens to our brains when we stop reading. Several were amused by my rudimentary question. “Everything that happens to you changes the brain,” Dan Willingham, a professor at the University of Virginia, told me. “Literally reading a word changes your brain for a few hours at least—and, if you know how to measure it right, for much longer than that.” He was trying to reassure me: If everything changes the brain, then almost no single action matters all that much.

But what if you consistently replace one kind of action (reading a word) with another (watching an Instagram Reel)? One of the most robust findings in neuroscience is that people’s brains master what they practice. If we fill our time with short-form videos instead of books, our reading skills atrophy. We have less background knowledge to aid comprehension. There’s no danger of spontaneous mass illiteracy, but the complex cognitive skills that reading fosters start to degrade. The library of the mind falls into disrepair.

Reading books is a workout for the attention span. The more you read, the easier it is to read, and the more you’re rewarded with new understanding. Eventually the process is more pleasurable than it is challenging. But as with physical exercise, the converse is true as well: The less you read, the more difficult it is to read, and the rockier the path to acquiring knowledge.

Watching videos is a more passive form of engagement than reading. Hutton recently collected brain images of children, all 3 to 5 years old, as they took in stories in different formats. When children watched an animated video of a story, they used the region of the brain associated with imagination about half as much as they did when looking at static illustrations while listening to an audio recording. Children also used their cerebellum—a part of the brain associated with learning—less when watching a video. “They don’t really have to use their imagination as much, because things are happening on the screen,” Hutton told me. “The brain’s just doing less work to understand and learn from what they’re seeing in the animated, compared to the illustrated.”

The paradox is that although video contains more information than text—not just language but sounds and moving images—it does not stimulate deeper thinking. To the contrary, video thrusts so much information at the viewer at once that it’s difficult to focus on any one piece of it. The frames keep changing regardless of how much the viewer has noticed or comprehended. Few people pause and rewind to reflect on what they might have missed.

Young people today have never experienced a world without ubiquitous short-form video. In other studies, Hutton found that children who had more screen time and spent less time reading had less well-developed white matter in areas associated with executive function and language. This suggests that they were less accustomed to using those skills. Benjamin Powers, at the Haskins Global Literacy Hub, told me that students arrive in elementary school with a poor ability to maintain focus and a low tolerance for mental exertion. “In classrooms, this shows up as students who can decode or retrieve information but struggle with comprehension that requires inference, synthesis, or holding ideas in mind across longer texts,” he said.

In a 2024 survey of third-to-eighth-grade teachers, more than 80 percent said that their students’ reading stamina had declined since 2019. Scores on the ACT’s reading and English sections have been falling for the past seven years. They’re now at their lowest level in more than three decades. SAT reading and writing scores have declined too, even as administrators have shortened and simplified the passages assessing reading-comprehension skills.

When these students get to college, their professors find that they have to teach them how to comprehend a text—in other words, how to think. “I’m teaching in German, so we’ve always been used to teaching them how to read, which is something that people in English departments are now realizing that they have to do,” Jonathan Fine, a German-studies professor at Brown University, told me. “Before you can even get to ‘What’s the larger point?,’ it’s: ‘Is this ironic?,’ what a metaphor might mean, just trying to get the very words and grammar to get them to notice everything, so that they can hopefully then make the larger connections.”

That may sound like an exaggeration, but higher education will almost certainly have to become more remedial. In a study of English and English-education majors at two regional universities in Kansas, published in 2024, researchers asked students to read the first seven paragraphs of Dickens’s Bleak House. The novel follows members of the Jarndyce family through a lengthy legal dispute over their inheritance. It begins:

London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets, as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill.

The researchers quoted students’ attempts to parse the passage. “So it’s like, um, the mud was all in the streets, and we were, no … so everything’s been, like, kind of washed around and we might find Megalosaurus bones but he says they’re waddling, um, all up the hill,” one student said. At least a quarter of the subjects interpreted the figures of speech literally, leading to the inference that dinosaurs walked the streets of 19th-century London. Dickens continues by describing the Lord Chancellor as he is “addressed by a large advocate with great whiskers, a little voice, and an interminable brief.” Another student interpreted this passage as “describing him in a room with an animal I think? Great whiskers? A cat?”

That students would struggle with unfamiliar references is not surprising. But the researchers gave them access to the entire internet. They could have looked up Michaelmas term or Lord Chancellor or Lincoln’s Inn Hall if they had chosen to do so. Students didn’t even know how to go about figuring out what they didn’t understand, or they didn’t bother. Most of them did not realize that the passage takes place in a court of law. Only 5 percent had an accurate, detailed understanding of what they’d read.

These changes aren’t confined to college campuses. American adults’ ability to answer logic questions, reason effectively, and analyze patterns declined from 2006 to 2018. American adults also tend to have a smaller vocabulary than those with an equivalent level of education did half a century ago. Recent studies suggest that the Flynn effect—the steady rise in IQ between generations since the 1930s—has reversed over the past two decades. Average IQ scores are declining by about three points a decade, Elizabeth Dworak, a research psychologist at Northwestern’s medical school, told me.

The cognitive shifts aren’t all negative. Dworak’s research finds that American adults are improving in certain forms of spatial reasoning. Postliterate culture could convey advantages that we don’t yet understand. In Plato’s Phaedrus, Socrates famously argues that the advent of writing “will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves.” He was right. But as writing eroded individuals’ memories, the media theorist Andrey Mir has observed, it improved society’s collective memory.

Could the generations growing up with their brains hooked to endless video feeds be developing some kind of novel, as-yet-undetectable cognitive brilliance? Perhaps. But for now, the decline of reading seems to be ushering in a less rational, analytical, and sophisticated mode of thinking. It’s difficult to see any advantages in that.

In 1982, Walter J. Ong observed that modern civilization was entering a phase of “secondary orality,” in which a once-literate society reverts back to some of the conventions of preliterate cultures. Because spoken words disappear as soon as they’re uttered, oral cultures value repetition to aid memory. Bards in oral societies make use of stock phrases and mnemonics to keep track of their train of thought. They traffic in epithets and “enthusiastic description of physical violence,” in Ong’s words, because conflict is more memorable than dispassionate discussion. Speakers can’t edit their words the way writers can, so they press on without admitting their mistakes. If they later contradict themselves, they don’t expect the audience to recall their earlier statements. Meaning depends on the identity of the speaker, not on any concept of objective truth.

It is unlikely that Donald Trump has familiarized himself with Orality and Literacy. But if he did, he might recognize himself in Ong’s description. Trump’s communication style is perfectly suited to an oral society. He employs epithets—“Low-Energy Jeb,” “Little Marco,” “Sleepy Joe”—that are easy to remember and repeat. He contradicts himself as though there is no record of his previous statements. Even his writing is almost indistinguishable from his speech. (It makes sense; Trump reportedly prefers dictation to composition.) His online posts are full of idiosyncratically placed punctuation, capital letters, and exclamation points. Many are memes with little text: One featured an image of an American warship hitting an Iranian airplane with a laser beam and included the phrase “Lasers: Bing, Bing, GONE!!!”

Trump is our first postliterate president. It is difficult to imagine him being elected leader of a country where information is primarily spread through text. Ahead of the 2024 election, an NBC News poll of 1,000 voters found that Joe Biden had a 49-point lead among respondents who read newspapers. Trump has pioneered a style of communication that exploits our distracted, disputatious age. “So many people, particularly in the academic and journalistic circles, think of him as a political revolutionary,” Roderick Hart, a communications professor emeritus at the University of Texas at Austin, told me. “And I see him much more as a rhetorical revolutionary.”

In the 1985 book No Sense of Place, the media theorist Joshua Meyrowitz observed that television and other electronic media inundated Americans with new kinds of information about their prospective leaders. Print media gave the public access only to politicians’ polished remarks; video let Americans see their presidents sweat, sneeze, and stammer. Voters began to focus on “dating criteria” instead of “résumé criteria,” he told me.

“More than in the past, authorities today must often ‘look and sound good’ rather than write and reason well,” Meyrowitz wrote in No Sense of Place. He predicted that the decline of print and rise of electronic media would ultimately push people toward populist leaders. They would shun authority and institutions in favor of the candidate who made good television. He published his book soon after Ronald Reagan, a former actor, had won reelection.

“I reread the book recently and I kept going, Holy shit, this is even more true than when I wrote it,” Meyrowitz said. Social-media platforms give Americans unprecedented opportunities to watch their representatives’ every move. Their algorithms reward simplistic, inflammatory, emotionally resonant content over complexity, nuance, and rigor. Ideas that comport with folk theories of politics—all leaders are equally corrupt ; immigrants steal jobs; policy problems have easy, commonsense solutions—prevail over the findings of subject-matter experts.

Politicians on the right and the left have figured out how to exploit these new platforms. Reihan Salam, the president of the conservative-leaning Manhattan Institute, described to me how this plays out. “You name an enemy and you polarize the public,” he said. “You don’t allow for nuance, because nuance is just a confusion when you’re in a struggle for power.”

Politicians who promote the distrust of institutions and elites do better under such circumstances. “You create this fantasy that, actually, it’s all really, really simple, and one charismatic person can just achieve these wins that are visually compelling and emotionally compelling,” Salam said. This is precisely the kind of demagogic figure the Founders hoped a well-read populace would see through. “When you think about our constitutional order, how it was meant to work, it absolutely cuts against that,” Salam said.

Marshall McLuhan once said, “The liberal world by definition is literate.” The inverse appears to be true as well.

If Trump is the first postliterate president, he won’t be the last. The political strategist David Plouffe, an architect of Barack Obama’s presidential campaigns, recently argued that candidates should focus each day on content creation. He advised shrinking every idea into something short enough for screen-addled voters to concentrate on. “If it can’t be communicated in an Instagram post or 10-second TikTok, go back to the drawing board,” Plouffe wrote in a New York Times op-ed. That may very well be good advice on how to campaign for office in the postliterate era. As a way to practice informed self-government, it portends disaster.

I haven’t even mentioned artificial intelligence yet. A number of digital technologies have hijacked attention and made focused reading all but impossible. Generative AI is the first tool to threaten the continued existence of writing.

Writing is hard. Orwell likened the experience to a “long bout of some painful illness.” AI promises a simple remedy. The trouble is that writing is not merely the act of transcribing fully formed thoughts—if it were, it wouldn’t be hard. Writing is the way people figure out what they think, and how to convey those thoughts to someone who doesn’t already share them. Cal Newport, a computer-science professor at Georgetown University, argues that the process of writing forces people to think in an orderly, linear fashion. It exposes flabby thoughts and shoddy reasoning. And the time and focus it takes to form thoughts into words, sentences, and paragraphs allow the author to make new connections and discover new insights.

This feels true to me. My job is to write. With apologies to Orwell, the prospect of a painful illness fills me with less dread than a blank page. But there’s satisfaction in the struggle. The writing process is how I refine and formalize inchoate ideas and gain new understanding. By evaluating my arguments and discarding those that aren’t convincing, I find the ones that are. Writing is hard because the writer is learning. If AI eliminates the challenge, it also eliminates the learning.

Early studies have suggested that this is exactly what happens when people use AI to write. The process is easier. The product is often better than what someone could compose on their own. But it comes at the expense of mental development. One study in Brazil determined that undergraduates who used AI for studying performed significantly worse on a surprise test than those who studied without AI. The students trailed their peers even on questions that demanded reflection and effort instead of specific knowledge. Another study of hundreds of individuals in Britain found that frequent AI use for cognitive tasks is negatively associated with critical-thinking abilities.

Modern life demands a lot of tedious writing. Some of it can surely be offloaded to machines without too great a cost. But a career spent studying the historical adoption of new technologies has convinced Newport that it’s almost impossible to automate away one problem without creating others. Over and over, people think they’re using a tool to bypass a single tiresome task. “And then there’s all these unexpected second-order impacts,” he told me. Email was supposed to be a more convenient substitute for faxes, phone calls, and meetings. Instead, responding to emails became an immense time suck of its own. These unforeseen consequences end up transforming intellectual life.

The skill of deep thinking will likely become rarer and rarer in a world where much of the population uses AI to avoid writing. It will also become more and more important. AI is creating a superabundance of text. It has led to a threefold increase in the number of books released on Amazon each month since 2022, when ChatGPT was launched. Over the same period, scientific-journal submissions have also surged. Many were written at least in part by artificial intelligence.

AI produces crisp, professional prose. Presented with human- and AI-produced text side by side, even M.F.A. candidates have been shown to prefer the work of the machines. If AI writing is pleasing and convincing, however, it is also unoriginal, often inaccurate, or both. People will therefore need their powers of discernment and comprehension more than ever. They will need to know what they think and how to make their own judgments. These are the exact skills that the use of AI threatens to erode.

What’s at risk is nothing less than the ability to think for oneself. If people become overreliant on AI to write for them, they could lose the capacity to interrogate or even develop their own views. These are quintessentially human capacities. “If we gave those up,” the NYU philosopher Kwame Anthony Appiah told me, “we’d stop being the kind of humans that we are. We’d be very different creatures.”

One hundred twenty-six years ago, The Atlantic published an essay by Arthur Reed Kimball describing “one of the most serious of the unchallenged changes of modern American life.” The ability of the nation’s citizens to write well and think deeply was under attack. The enemy of eloquence and sustained attention? The newspaper. In “The Invasion of Journalism,” Kimball argued that the daily paper, with its sports pages and gossip columns, its miscellaneous items and slang, was eclipsing the book and the literary magazine. Even those who claim to read the newspaper to learn of pressing events in Washington or Europe, he argued, will turn first “to some interesting ‘story,’ perhaps a curious bicycle adventure, perhaps the capture of a clever burglar.”

Before the newspaper, the novel was seen as a threat to good reading habits and moral stature. Thomas Jefferson thought that one of the greatest obstacles to educating women was their passion for fiction, which seduced them away from “wholesome reading.” Once a woman has fallen for novels, he wrote, “nothing can engage attention unless dressed in all the figments of fancy.”

Those inclined to dismiss the present assault on reading point to this venerable tradition: decrying some new technology or medium as distracting and debasing the American people. Perhaps, 126 years from now, this essay will seem like the latest such exercise in hand-wringing. Looking back at these laments, I noticed that the people most invested in the old modes are usually the quickest to predict that all will be lost.

By some measures at least, books continue to thrive. Last year, print-book sales were higher than they were a decade ago. Barnes & Noble opened more than 60 new stores. Almost 400 independent bookstores sprang up in 2025. Substack has seen an explosion of subscriptions for long-form writing. Celebrities such as Dua Lipa and Reese Witherspoon have used their fame and influence to launch wildly successful book clubs. Audiobooks have become a billion-dollar industry.

But the optimists overlook a crucial thread in the data: Text is thriving among a dwindling proportion of the population. Just 20 percent of adults accounted for more than 80 percent of all books read last year. “It’s becoming a kind of niche hobby, like stamp collecting or growing orchids,” Leah Price, a historian of reading at Rutgers University, told me. Readers spend more time reading each day than they did two decades ago. They appear to be even more passionate about print than their predecessors. But the people devoted to text, who derive cultural understanding and intellectual connection from the written word, are now part of a subculture. The fact that you are reading this article almost certainly makes you a member of it.

Now that being a reader is optional, it can function as an identity marker. When you see someone on the train reading printed matter, it feels like a statement. Perhaps inevitably, such statements have become the stuff of online ridicule: Brandish a book too ostentatiously in public, and you might find yourself accused of “performative reading.” The label presumes the person is only trying to telegraph that they are highly educated or possess superior literary taste—why else would they lug a book around?

We’ve been here before. When society first transitioned from orality to literacy, only a small minority could read. As the only individuals who possessed this valuable skill, they occupied a privileged position, and were paid handsomely for their work. At the Library of Alexandria, scholars in residence lived in the city’s royal complex.

Today, reading is again clustered among a small minority of the population, but being a person of letters confers less status than it once did. The remaining readers are marginalized, mocked, and in many ways irrelevant. For most people, a life of letters is an economic dead end. Employment at newspapers has fallen by 75 percent in the past two decades. Job openings for academics in the humanities are likewise in decline, and fewer and fewer of the remaining positions are tenure-track. In 2024, only 8 percent of college graduates earned a bachelor’s degree in a humanities discipline. That year, both English and history departments awarded 40 percent fewer degrees than they did in 2012. There’s a fear among historians, whispered during panels and conferences, that they will be the final generation to systematically examine the past.

The notion of a popular literary figure appearing on the cover of a print newsweekly read by millions of Americans is impossible to imagine today. There is no such figure, and there are no such widely read newsweeklies. Instead, many Americans are proudly postliterate. The president has spoken about his taste for bullet-pointed briefings, and aides have said he likes pictures and charts. The world’s richest men brag about getting their information from X posts, podcasts, and conversations with chatbots. Young people who seek wealth and influence are encouraged to mimic them.

Cultural and economic power tends to flow to people who are skilled at using the most popular communications technology. Today, those people are streamers, podcasters, and influencers. Joe Rogan commands the kind of audience that journalists could only dream of. He has more than 14 million followers on Spotify and more than 20 million subscribers on YouTube. MrBeast, a YouTuber who stages elaborate stunts, such as a real-life Squid Game, regularly gets hundreds of millions of views. Video-game streamers such as IShowSpeed and TheBurntPeanut are among the most popular media figures in the country. These personalities shape what young people aspire to and talk about, and even how they speak.

Books used to be an essential source of knowledge, memory, wisdom, and morality. They were written by older generations and passed down to the young in a vertical transmission of culture, the social psychologist Jonathan Haidt told me. Now information moves horizontally, from young person to young person. This dynamic makes figures such as MrBeast and TheBurntPeanut the guardians of American culture. The decline of reading didn’t turn the world upside down. It turned the world sideways.

Young people want to pursue jobs that will catapult them into the elite—which today means that people coming of age want to be influencers. A 2023 Morning Consult poll found that almost 60 percent of Gen Z respondents said they would be a social-media personality if they could. Amanda Kordeliski, of the American Association of School Librarians, is also a librarian in Oklahoma, where she has set up recording studios for students. “Podcasting is the hottest, most popular thing. I could buy a million microphones and there would still be a waitlist to get into the audio labs,” she told me. “Everybody wants to be an influencer.”

In September, Syracuse University launched its Center for the Creator Economy, and will soon offer its inaugural minor for aspiring influencers. “This center speaks directly to the aspirations of current and prospective students,” Mark J. Lodato, the dean of the university’s Newhouse School of Public Communications, said in a press release. “It’s about meeting them where they are—and preparing them to lead in the world that’s coming.”

The arrival of that world isn’t yet a certainty. Some people have noticed what we’re giving up, and they’re choosing a different path. Nearly two dozen states have banned cellphones during the school day. After Texas’s ban went into effect at the start of this past academic year, a Dallas school district saw 200,000 more library books checked out compared with the year before, a nearly 25 percent increase. Rex Ovalle, a high-school English teacher in the Chicago suburbs and a member of the National Council of Teachers of English, told me he’s seen pushback against excerpts; some teachers are adding whole books back into their curriculum. Felton Thomas Jr., the executive director of the Cleveland Public Library, said that its youngest patrons have joined senior citizens in preferring print books to digital copies. If these acts of defiance against a postliterate culture seem futile, the holdouts lose nothing by trying.

When the Library of Alexandria disappeared, the knowledge inscribed on its scrolls was lost forever. We can only guess what else Eratosthenes and Euclid might have written. The text turned to dust. That won’t happen today; all of the words in the great library could be stored on a single computer chip. Nowadays, even the most obscure academic monographs are scanned and digitized. Google Books and the Internet Archive represent libraries of unfathomable proportions. We can navigate to them with a few keystrokes, not a perilous journey across the Mediterranean. There’s little risk of their texts succumbing to humidity or mice.

But the threat of apathy remains. What we’re losing is the ability and inclination to read those texts. An astonishing wealth of information and wisdom has been bequeathed to us. What we’ll do with this inheritance is up to us.”

Bookstore Boom vs Literary Decline

There is an intriguing article on the Literary Hub website by Ellen O’Connell Whittet, dated 16 June 2026 in which she explores the above contradiction.

Ellen O’Connell Whittet is  an essayist and continuing lecturer who teaches in the Writing Program and College of Creative Studies at UC Santa Barbara. Her debut novel, Book of Hours (Dzanc), is forthcoming in 2026. Her memoir, What You Become in Flight (Melville House, 2020) was named a most-anticipated book by Refinery 29 and Chicago Review. She has an MFA from Sarah Lawrence College. She co-hosts the podcast Good Moms on Paper with writers Annie Hartnett and Tessa Fontaine.

Ellen O’Connell Whittet

She says, “I was standing in line at Chaucer’s Books, my local indie, when it occurred to me that the line was longer than usual. This has been happening regularly enough that I’ve stopped being surprised—Chaucer’s business is downright defiant. But just that afternoon I had read something about declining literacy rates, and the cognitive dissonance was hard to shake. I mentioned to the woman at the register that I was glad to see the place so full. “I keep waiting to read the worst news ever in the local paper,” I said, meaning the store’s closure.

She didn’t hesitate. “Not gonna happen,” she said twice, shaking her head.

I wanted to believe her. I still do. But I’ve been turning that contrast over ever since.

Here are the two facts, sitting in apparent contradiction. Reading scores for American high school seniors recently fell to their lowest point since the National Assessment of Educational Progress (NAEP) first administered the assessment in 1992. Only 35 percent of seniors tested as proficient in reading. Nearly a third scored below basic—meaning they couldn’t reliably locate details in a text to understand its meaning. The decline precedes the pandemic and is steepest among students who were already struggling. Meanwhile, the American Booksellers Association reports that the number of independent bookstores in the United States has grown by 70% since 2020, from roughly 1,900 to more than 3,200. In 2025 alone, 422 new independently owned stores opened nationwide. Barnes & Noble opened more than 50 new locations in 2024 and has plans for 60 more. The line at Chaucer’s, it turns out, is part of a national phenomenon.

One version of the story is about access and class. The bookstore boom is a story about a certain educated, culturally aspirational demographic doing what it has always done, while the literacy crisis unfolds elsewhere, namely in under-resourced schools, rural communities, and households without the discretionary income to browse a charming bookshop on a Saturday afternoon. Jen Lemberger, co-owner of Chaucer’s, makes this point plainly. “Books are a luxury item for many,” she told me. She noted that the bookstore resurgence also reflects demographics—millennials and Gen Z, the highest users of libraries, are now at ages where they have the means and motivation to open small businesses and spend on books. Nicole Vasquez, who works at Books Are Magic in Brooklyn, corroborates the geographic dimension. “Those living in rural parts of the country who don’t have access to bookstores or libraries have lower literacy rates,” she told me. “I would say that is a lot of America—more than people think.”

The numbers bear this out. According to a 2025 Pew Research survey, 88% of college graduates say they’ve read a book in the past year, compared to 60% of those with a high school education or less.

But there’s something else happening too that complicates both the optimistic and the pessimistic readings. Miranda Sanchez, owner of Epilogue Books in Chapel Hill, notes that the boom is heavily concentrated in niche stores—forty-three romance-specialty shops opened last year alone—and in bookstores that function primarily as third spaces, places to be seen and to belong. The nature of what’s selling has shifted too. Sprayed-edge limited editions bought and re-bought for the shelf, not necessarily to read; BookTok-fueled titles that sell out for months on the strength of a viral video.

The boom, Sanchez says, is “often centered around a book as a product, not as literature.” Books carry a cultural prestige that television has never had, according to Sanchez, a cachet that makes them a powerful vehicle for identity-making. It’s why influencers and actors want to become authors even after they’ve already achieved fame. When the aesthetic of literary life becomes the point, something about the relationship between books and the expansion of one’s inner life shifts. The bookstore stays full. The tote bags are beautiful. And it becomes harder to notice what’s changed.

Sarah Arnold, at Parnassus Books in Nashville, offers what I find to be the most humanly persuasive explanation for why people are flooding into bookstores even as reading scores fall: loneliness. “Technology and social media promised to bring us together,” she told me, “but more often it feels like they siphon each of us into a solitary lifestyle, and it’s hurting us.” Bookstores are filling a social void. People can come to Parnassus on almost any given night for an author event or a book club meeting, or simply browse and strike up a conversation. This helps explain how the bookstore boom and the literacy crisis can coexist.

People are coming for community and the experience of being around people who care about the same things they care about. The act of reading, which is slow, solitary, and at times, demanding, is a related but separate transaction. And yet, for all the talk of bookstores as gathering places, only 7% of American adults participated in a book club in the past year, suggesting that what people are seeking may be the feeling of literary community more than its sustained practice.

Mike Gustafson, co-owner of Literati Bookstore in Ann Arbor, frames the phenomenon in explicitly political terms. Gustafson believes people are “desperately trying to support environments of books and literacy” while watching the infrastructure of public reading get dismantled. He’s not wrong. School librarians are being pressured or removed. Library budgets are first to be cut  when municipalities face deficits. California’s adult literacy programs, Lemberger notes, are not guaranteed line items in the state budget. In this reading, people flooding into bookstores may represent something more than lifestyle preference—a kind of cultural self-defense, a community’s attempt to preserve the infrastructure of reading at the precise moment that infrastructure is being defunded elsewhere. The bookstore boom and the literacy crisis may not be the contradictions I originally thought they were, but symptoms of the same underlying pressure.

The optimistic version of this story is that bookstores can do some of the work that schools and libraries are being prevented from doing. Arnold talks about adults who started reading during the pandemic and found, in places like Parnassus, a community that extended and deepened that habit. Vasquez credits TikTok with giving Gen Z a genuine entry point into reading culture. If a twenty-two-year-old comes in for a romantasy and leaves with a staff recommendation that surprises her, that is the system working.

But the less optimistic version is harder to dismiss. If a third of American high school seniors cannot reliably comprehend what they read, then the customers filling bookstores on a Saturday afternoon are largely not the people at risk, and the beautiful new bookstore opening in a walkable urban neighborhood is not reaching the communities where the crisis is worst.

I still believe the line at my local indie represents the desire for community and the experience of being somewhere that takes the written word seriously. Lemberger, for her part, is cautiously hopeful but honest. According to her, “As economics change and political policies are implemented, there is definitely concern about folks adjusting their spending habits and focusing on needs such as housing, food, and health over that new book they may want. We’ll see what the landscape shows in two to three years.” The bookstore boom is happening, but it’s fragile in ways the attendance numbers don’t reveal. Meanwhile, the literacy crisis is not fragile at all. I believe the bookseller when she says Chaucer’s isn’t going anywhere. But the line at a well-stocked bookstore in a prosperous coastal city is not the same thing as a reading culture, and we should be careful not to mistake one for the other.”

Paperback vs Hardcover: Which Is Best?

Maris Kreizman digs into which is best for Reader and Writer on Literary Hub dated 20 March 2026.

Maris Kreizman hosted the literary podcast, The Maris Review, for four years. Her essays and criticism have appeared in the New York Times, New York Magazine, The Atlantic, Vanity Fair, Esquire, The New Republic, and more. Her essay collection, I Want to Burn This Place Down, is forthcoming from Ecco/HarperCollins.

Maris Kreizman

Maris says, “If you conducted a survey, I am fairly certain you’d find that the majority of readers prefer paperbacks to hardcover books. I have no stats to back this up, but I know what I’ve heard anecdotally for years. Paperbacks are lighter and smaller and more lithe, easier to put in a pocket or a backpack and carry around. They’re also significantly cheaper. Now that the kind of mass market paperback you could find in any local grocery or drugstore have officially been retired, you’d think that the mighty trade paperback would rule the world (of books, at least).

But it’s not that simple. When my publisher originally planned for my debut essay collection to be a trade paperback original, I begged and begged them to change their minds. I had written a humorous collection, which is the genre of book that is ground zero for the TPO format, but I also wanted the essays to be seen as literary. But I know from having covered books for decades that a hardcover release signals, at least to me, that the publisher is more invested in the title.

I knew that having a hardcover release would mean more reviewers would take my book more seriously. I wasn’t planning on being a megabestseller, but I did want to make sure I got as much review coverage as possible. And, of course, the price of hardcovers is higher, which means there’s more profit, especially because the royalty split for authors is 10-15 percent for hardcover and only 7.5-10 percent for paperback.

Recently Barnes & Noble has tried to convince more publishers to publish paperback originals, particularly for YA and middle grade books. But choosing a format to please one vendor, no matter the size of that vendor, is limiting, especially when smaller indie bookstores run on such tight margins in the first place.

This is not to say that all trade paperbacks are unserious or undeserving of coverage. Paperback imprints like Vintage and Picador, as well as a great number of indie press imprints, are putting out new and impressive originals regularly. In fact in the 1980’s some of the greatest works in literature were put out as TPOs. This, of course, was before Amazon devalued the price of hardcovers so that readers expected to get brand new hardcovers at trade paper prices. I would love to read a good piece about what has happened to the viability of trade paperbacks between then and now.

I love when I see a trade paperback reprint find another life in its new format. Maybe the publisher changes the jacket design to emphasize themes that resonated with readers, or maybe there are new review blurbs that make the book design pop. At best, the trade paper reprint gives both the author and publisher a second chance at success.

My essay collection was published last July, so this coming July will see the paperback edition. I know just how lucky I am to get to be published in both formats: often, if a book isn’t a big seller in hardcover, the publisher won’t bother with a paperback at all. I hope that readers who don’t buy new hardcovers (who I don’t blame one bit) might find their way to it now. I hope the slimmer, cheaper version of my book will take a whole different journey in its new format even if we’re sticking with the old cover design, which was already totally perfect. But I also worry.

For about a year in the pre-Covid times, I reviewed five or six new-in-paperback books a month for Vulture/New York Magazine. Again, I don’t have any stats, but I’m fairly certain that approximately four or five people read those columns in total, and they were all publicists. I didn’t realize how good I had it then.

The idea of books slipping through the cracks and remaining undiscovered keeps me up at night. Currently there is not nearly enough coverage even for new hardcovers, let alone trade paper reprints. I currently don’t cover reprints because I already feel weirdly responsible for covering as many new books as I possibly can (alas, I am only one person so I am constantly feeling inadequate). I am constantly trying to stay up to date with new releases and publishers keep on putting out more. This would be a very good problem if there were more people covering books overall.

And yet, my favorite table at a bookstore will always be the new paperback table. It’s the ultimate place of discovery. In an ideal world, the trade paperback is the format for longevity, the kind of book that is perennially in stock and available at your favorite local indie so that new readers can find it again and again.”

Reading Is Down; Book Sales Are Up?

Yesterday the Telegraph had an article to this effect written by Hannah Boland, the Retail Editor.

Hannah said, “Across Britain, fewer and fewer people are reading books. The data are plain as day.

The number of children who read outside of school every day has halved over the past two decades, while the number of children who say they enjoy reading in their spare time is down by 36pc.

Among adults, reading numbers are also in freefall. In a YouGov survey last year, two in five people said they had not read or listened to a book in the past year – compared with around a quarter of adults in 2001.

For Waterstones, figures such as these would be expected to raise alarm bells. With the high street in crisis, you would think the decline of reading would put businesses such as Waterstones next in line to face the chop.

Yet the mood is anything but sombre at Britain’s biggest bookseller. In fact, Waterstones’ owners are so confident in the business that they are gearing up for a multibillion-pound stock market listing, with a float expected as soon as this summer.

This month, it emerged that Elliott Advisors, the company’s owner, had lined up advisers at Rothschild to work on the process.

The private equity group is preparing to list both Waterstones and its US cousin Barnes & Noble together as one business.

In a sign of just how well Waterstones appears to be doing, Elliott is understood to be leaning towards the London Stock Exchange for a debut of the combined company.

James Daunt, the bookseller’s lauded chief executive who also runs Barnes & Noble, is himself a Briton.

Daunt, who runs both booksellers, described 2025 as a “fantastic year for us”, with both the US and UK businesses expanding into new areas.

Barnes & Noble opened 67 new stores while Waterstone is adding around 10 new shops a year, even though expansion is harder given it is so well-established.

“Stories of declines in reading evidently do not correlate to book buying,” he says. “Publishers and independent booksellers, as well as ourselves, are all doing well in both the US and the UK.”

The figures back him up. The number of independent booksellers across the UK rose slightly last year, even as the high street was struck by a series of retail collapses and store closures.

Between them, Barnes & Noble and Waterstones made a profit of $400m (£300m) last year, with sales standing at $3bn.

That is despite Barnes & Noble facing the same problem with declining reading numbers as Waterstones. A study by the University of Florida in August found that the number of Americans reading for pleasure had plunged by 40pc over the past 20 years.

Official accounts show that Waterstones’ sales rose to £565.6m for the 12 months to May 3, compared with £528.4m a year earlier, according to documents published on Companies House this week. It made pre-tax profits of £40m for the year.

Barnes & Noble opened 67 new stores while Waterstone is adding around 10 new shops a year, even though expansion is harder given it is so well-established.

Waterstones recently said it had been boosted by growing demand for “romantasy” novels – known colloquially as fairy porn.

These fantastical tales of heroines being swept off their feet by knights and wizards have gained huge numbers of fans among British women.

Sarah J Maas, author of romantasy novel A Court of Thorns and Roses, has sold more than 75 million copies of her books globally. Publisher Bloomsbury said demand for Maas’s books helped it to the highest first-half sales and earnings in its history last year.

Elliott is understood to be planning to remain as the biggest shareholder in the combined bookselling business for some time following the market debut, which may give new investors more confidence in its future.

One banking source suggested now was as good a time as any for Elliott to kick off the process of listing Waterstones on the stock market and realising some return on its investment.

“Everything is a bit s–t,” they said. “But that’s not going to change anytime soon and there have been so few returns back on private equity that if they can, they probably should.”

For Daunt, his focus continues to be on the day-to-day. Over the past week, he has been travelling down the west coast of the US to visit Barnes & Noble shops. Despite falling reader numbers across both the US and UK, Daunt says stores are thriving.

“Bookselling is presently vibrant,” he says.

Soon he will find out if investors agree.”

Could AI Write a War and Peace?

In last Saturday’s Telegraph there was an article by Tom McArdle with the title “Waterstones chief: AI could produce the next War and Peace”.

James Daunt, CEO, Waterstones and Barnes & Nobel

THE chief exec­ut­ive of Water­stones has said he is open to the com­pany selling books cre­ated by Arti­fi­cial Intel­li­gence, as long as they are clearly labelled.

James Daunt said it would be “up to the reader” whether to pur­chase them if they end up on his stores’ book­shelves.

There are major con­cerns from authors about the impact AI-gen­er­ated con­tent will have on the book industry, after a recent study found most writers feared their jobs were at risk from the tech­no­logy.

But Mr Daunt, who has been the CEO of Water­stones since 2011, told BBC’s Big Boss pod­cast that AI could pro­duce “the next War and Peace”.

“There’s a huge pro­lif­er­a­tion of AI-gen­er­ated con­tent and most of it is not books that we should be selling,” he said. “Hope­fully, pub­lish­ers avoid it; we as book­sellers would cer­tainly, nat­ur­ally and instinct­ively, dis­dain it.”

A Uni­versity of Cam­bridge study last month found wide­spread con­cerns from nov­el­ists about their jobs being replaced by the tech­no­logy and fears that work writ­ten by humans could become “an expens­ive lux­ury”.

In response, Mr Daunt said: “At the more lit­er­ary end I don’t see that being the case. There is a clear iden­ti­fic­a­tion of read­ers with authors, and book­sellers play an import­ant role in join­ing authors and read­ers.

“That does require a real per­son.

“As a book­seller, we sell what pub­lish­ers pub­lish, but I can say that, instinct­ively, that is something we would recoil [from]. It’s really import­ant that authors earn a liv­ing.”

Asked whether the high-street book­shop would sell AI books, he said: “We would never inten­tion­ally sell an AI-gen­er­ated book that was dis­guising itself as being other than that.”

When pressed on whether he would con­sider it if they were clearly labelled, he respon­ded: “Yeah, if it was clear what it was, then I think it’s up to the reader.

“Do I think that our book­sellers are likely to put those kinds of books front and centre? I would be sur­prised.”

He warned that given the exor­bit­ant sums of money being spent by tech com­pan­ies on AI, it was hard to know its lim­its.

“Who’s to know,” he said. “They are spend­ing tril­lions and tril­lions on AI and maybe it’s going to pro­duce the next War and Peace. If people want to read that book – AI-gen­er­ated or not – we will be selling it. As long as it doesn’t pre­tend to be something that it isn’t.”

AI Controversy

There is an article in the Atlantic magazine on 19 September about how the publishing industry views AI. It is written by Boris Kachka, Senior Editor of the Atlantic. He titles the article ‘Publishing’s New Microgenre’

Boris Kachka

“Book publishing has, let’s say, a complicated relationship with artificial intelligence. Earlier this month, Anthropic settled a lawsuit brought by authors and publishers, agreeing to pay $1.5 billion after training its chatbot, Claude, on pirated text; hundreds of such copyright lawsuits against data-scraping tech companies are still making their way through the courts. Many in the culture industries see AI as not just a thief but an existential competitor, ready to replace human writers at every turn. Yet publishers are also fascinated by the technology (and not only because they use it for marketing and other tasks). The major imprints have been churning out a robust collection of books (more than 20 this year, by my count) that explain, extol, deride, fictionalize, and occasionally incorporate AI.

Among these recent releases, one overarching theme is a debate occurring between so-called accelerationists and doomers—those who think superintelligence will hugely benefit humanity and those who suspect it will kill us all. Adam Becker, a journalist and former astrophysicist, disagrees with both groups. Becker, the author of the recent anti-utopian critique More Everything Forever, wrote about his problems with a new dystopian manifesto, If Anyone Builds It, Everyone Dies, by Eliezer Yudkowsky and Nate Soares.

Becker’s main objection to both sides is that they overhype the long-term, world-altering effects of superintelligence while downplaying the “much more immediate and well-founded concerns about the dangers of thoughtlessly deployed technology,” he writes. The kinds of ongoing changes that he would prefer to focus on are well accounted for in 2025’s AI book haul. Readers can find out more about how AI’s processes resemble the workings of our brains (or don’t); how the technology is changing medicine, warfare, education, business, and politics; how it has already profoundly altered society. But to me, the most interesting of the crop (or maybe just the most fun) are the works that explore our individual relationships with AI, through fiction or memoir.

Novels such as Amy Shearn’s Animal Instinct and Jayson Greene’s UnWorld imagine chatbots standing in for boyfriends or dead loved ones; politician-author Stacey Abrams invents a rogue medical-AI company in her latest legal thriller, Coded Justice. Hamid Ismailov’s wildly experimental novel We Computers, translated from Uzbek and longlisted for a 2025 National Book Award, creates an alternate history in which a 1980s computer intelligently generates a new kind of mind-expanding, transnational literature.

Occupying a category all its own is Searches, a fragmented memoir in which Vauhini Vara works through her complex feelings about technology. Vara interweaves the story of the rise of the internet with the narrative of her life and work as a tech reporter. She also includes strange interludes: prose-poetic lists of her Google searches; a collection of her Amazon-purchase reviews; and, most strikingly, a series of long interactions with ChatGPT-3 as she works to revise an essay about a sister who died years ago. As Matteo Wong noted in his Atlantic article about the book, the large language model produced what Vara considered to be the essay’s best lines while also inserting plenty of lies. She wound up employing the bot not to think for her, but to prod her into a different kind of thinking; it forced her, she writes, “to assert my own consciousness by writing against the falsehoods.” I enjoyed the book in part because it was less about what technology is doing to us than what we are doing in response.”

How Did Waterstones Become a High Street Success?

There is an article in today’s Telegraph, by Claire Allfree that explains how Waterstones became a high street success in the face of on-line giants like Amazon. The article focuses on James Daunt, Waterstones CEO. Excerpts are below.

James Daunt

“James Daunt is running between meetings and apologies for having to dash off for a minute before we can begin our chat. While he is gone I squint at the books in his New York office, but alas the Zoom screen is such that I can make out only one title – a biography of the artist Andy Warhol. Quite what a bookshelf would tell you about Daunt though is a moot point: he reads anything and everything.

“I try to knock through a non-fiction book once a week. I’ve just finished The Quiet Coup by Mehrsa Baradaran [about the market failures of American neoliberalism]. I’m reading a book on inflation. Although I’m having a tough time with novels at the moment. I haven’t hit upon something that’s made me feel ‘wow’.”

On second thoughts, perhaps you can deduce from this that Daunt cares very much about the health of new fiction, and that he is deeply concerned about the economy. Neither should be a surprise: Daunt is, after all, the most powerful man in Western bookselling. His footprint has been all over the books we buy and where we buy them ever since he founded the six-store Daunt Books chain, opening its first location on Marylebone High Street in London in 1990 at the age of 26.

Daunt Books’ Marylebone location is one of London’s most famous (and photographed) independent bookshops 

In 2011, he was appointed managing director of Waterstones at a time when the chain was in a seeming death loop of forced branch closures and collapsing profits; by 2024 sales had reached £528.4 million, up 17 per cent on the year before, with profits for the same year soaring by £20 million to hit £32.8 million.

In 2019, he became the chief executive of the then floundering US book chain Barnes and Noble (he splits his time between New York and the four-storey Hampstead home he shares with his wife Katy Steward, who works in health care; the couple have two adult daughters) and has overseen an aggressive reboot and expansion, opening 50 stores last year and with another 50 planned for this.

So successful have both companies become that rumours are circulating that Elliott Management, the private equity firm that owns them, plan to float them on the stock exchange. Daunt, though, 61, dismisses such corporate gossip as though it were a bad smell. “These are not my plans at all,” he says, reluctant to disclose any further details for both companies beyond their steady and remorseless growth. “Much of it is pure speculation: one sees that a private equity firm buys a business and assumes that five years on, if the business is doing well, they will sell it. To be honest I lack the imagination to see why one would do things any differently to how we do it now.”

Indeed. The success of Waterstones in the UK is a rare, possibly unique bright spot in a retail market otherwise dominated by the collapse into administration of big brands (Ted Baker is among the latest to be plunged into crisis) and declining profits (Asda announced their worst Christmas since 2015, with sales slumping by more than 5 per cent over the festive period).

“What makes us different is that we stubbornly and tenaciously held on in places where other people have left, so you’ll find us in Grimsby and Middlesborough long after M&S have abandoned these places,” says Daunt. The Waterstones vision is as much ideological as financial. “We have a bookshop in Ayr because it matters that we are there.”

So why is Waterstones soaring and everywhere else floundering? Covid helped: sales rose 73 per cent in 2021-2022 as half of adults doubled their reading time during lockdown and an artfully curated bookshelf became a Zoom must-have accessory. “Most retailers appeal to a relatively small demographic – teenagers, or older men and so forth. We sell to everyone.”

“We have huge advantages,” he argues. “What we sell has a fixed price that we don’t set [book prices are set by the publishers]. So we are remarkably well protected from the consequences of excessive inflation.” Fair enough, but that fixed price is creeping up – it’s now common for literary hardbacks to sell at £22. 

“But inflation has been remarkably modest in the UK book market, much less than it is in any other. When I first started selling books in 1990, a paperback was £6. Nor do we sell items that go out of date. Also we are aspirational. Our reach goes beyond the middle class bracket. Many parents want their children to read.”

Daunt’s argument is for a system whereby some communities are taxed more than others. “Sensible structures should be put in place so that Marylebone High Street, which is never going to struggle for occupancy, doesn’t benefit in the way Barrow-in-Furness should.” He doesn’t agree that one answer might be for shops to follow the Waterstones model, which places huge emphasis on the social and aesthetic experience of shopping and targets each shop directly at the needs of its local community.

“The problem is not the shop keeper or the environment. You need to provide an environment that allows them to thrive. And if you give an online retailer a massive incentive to open a huge warehouse, then you are stripping employment from local high streets, which is of huge social and cultural benefit. So don’t shout at the retailer, shout at the warehouse, and this has to be something that starts in Westminster.”

“I was a nice middle-class child who was taken down to Caledonian Road library to pick out my books from a very early age and had my nose in a book from the moment I could read,” he says. “Clearly if one is privileged enough to grow up, in my case with library books, it helps foster a love for reading. We were a nuclear family, although because of my father’s job I was sent to boarding school [Sherborne, in Dorset] which is a way of being educated I suppose. I certainly haven’t subjected my own children [Molly, who works for a security and counter terrorism think tank and is also completing a masters in Middle Eastern Studies at SOAS university, and Eliza, who is studying history at Yale] to that.”

Daunt’s argument is for a system whereby some communities are taxed more than others. “Sensible structures should be put in place so that Marylebone High Street, which is never going to struggle for occupancy, doesn’t benefit in the way Barrow-in-Furness should.” He doesn’t agree that one answer might be for shops to follow the Waterstones model, which places huge emphasis on the social and aesthetic experience of shopping and targets each shop directly at the needs of its local community.

“The problem is not the shop keeper or the environment. You need to provide an environment that allows them to thrive. And if you give an online retailer a massive incentive to open a huge warehouse, then you are stripping employment from local high streets, which is of huge social and cultural benefit. So don’t shout at the retailer, shout at the warehouse, and this has to be something that starts in Westminster.”

In person, Daunt has an air of careful affability. He was born in Islington in 1963. His father, who died in 2023, was the diplomat Timothy Daunt, while his mother, Patricia, brought up James and his two younger sisters – Eleanor, who works for a fragrance company, and Alice, who runs Daunt Travel, a high-end travel business. The house was bookish and he remembers school holidays as being “very intellectual”.

Daunt read history at Cambridge and on leaving joined JP Morgan in 1985, until Katy, at that point his girlfriend, suggested that perhaps he might want to do something else with his life. He set up his first Daunt shop in 1990, taking over an antiquarian bookstore on Marylebone High Street. “Running a business is not at all the tradition of the Daunt family,” he says. “Daunts tend to be either school teachers or public servants, and if you are neither of those things, you tend to join the church.”

There is a vaguely ecclesiastical beauty about the original Daunt shop, with its gorgeous Edwardian gallery and lofty calm. It set the image for the subsequent five Daunt stores that followed, which, given their locations (Holland Park, Hampstead, Belsize Park), retain an air of monied exclusivity, something of which Daunt is well aware.

“There has always been the accusations [with Daunt Books] of being leafy or snobby, and it’s a type that we undoubtedly are: you only have to listen to my accent to hear who I am. But the customer I could always identify was the taxi driver. They are and remain a really good customer base for us because they keep lots of books.”

When he was asked to take over Waterstones by its new owner, the Russian oligarch Alexander Mamut, no one thought he could do it. Amazon was selling books online at aggressive discounts, and there were apocalyptic warnings about the rise of the ebook.

Instead, Daunt set about applying the independent Daunt ethos to Waterstones and, in what seemed a particularly kamikaze move at the time, severing its relationship with publishers. No more in-store promotion displays paid for by publishing houses, a revenue stream that had brought in £27 million a year. And no more three for two discount tables either. He cleared out the management at a loss of 200 jobs and handed buying power to individual stores. “I hate homogeneity,” he says. “The idea is that each time you are creating a bookshop for the local community.”

He has his critics. Some accuse him of being ruthless, an iron fist wrapped in a velvet glove. Is he? “I don’t know if I’m ruthless but I am single-minded as to what a good book shop is. And I don’t compromise on that and I never change my notion of what that is. I will never let people be useless. The key to that, and the bit people have found a bit ruthless, is that I require my bookshops to be run by booksellers. And if you are not interested in books and you don’t read and you don’t care then work somewhere else.”

With such reach and influence can come accusations of excessive curating, even censorship. Daunt bats them away. “We get accused periodically of going all woke, it’s nonsense. Or you get a bit of outrage from some author who says we are no longer stocking their book. And over the years I’ve been accused of not stocking almost every sort of book.”

All the same, does he agree the book industry is increasingly convulsed by the subject of what can and cannot be published? As leading publishers shy away from books with a gender critical perspective, or books with a pro-Israel stance.

“I don’t recognise that. Of course publishers make missteps. They go and clean up Roald Dahl and it’s just absurd. It was a bit of a stupid thing to do. But publishing is such a vigorous landscape that these missteps are soon corrected.”

Do these “missteps” affect what Waterstones select to buy? “Our job is to curate a sensible array of books. And when it comes to books about the Israel and Gaza conflict, we’ve had some real bestsellers such as The Genius of Israel [by Saul Singer and Dan Senor, about Israel’s strength as a nation]. Admittedly, this has been in areas with strong Jewish communities but it was ever thus. We are not dictating to anyone.”

“Yes, sometimes we make mistakes. We made a mistake with Hannah Barnes’ book about the Tavistock Clinic [Time to Think, an exposé of the Tavistock NHS gender clinics which multiple publishers refused to publish; it was eventually published by Swift in 2023] by underestimating how many copies we would need [when it was first published]. So when it sold out, we had to go back to Swift and ask for more copies. It’s a problem for about 10 days. People say ‘you are boycotting it’. We are not boycotting it; we’ve just sold out our initial order.””

How to Talk About Your Book

Maris Kreizman has put some advice (for herself) on the Literary Hub website dated two days ago.

Maris Kreizman hosted the literary podcast, The Maris Review, for four years. Her essays and criticism have appeared in the New York Times, New York Magazine, The Atlantic, Vanity Fair, Esquire, The New Republic, and more. Her essay collection, I Want to Burn This Place Down, is forthcoming from Ecco/HarperCollins.

She says, “Today I have my very first press event for my new book, which is out in July. I, along with three other wonderful Ecco authors, will take part in a lunchtime Zoom meeting with various members of the media and booksellers, during which we’ll be interviewed by Ecco’s associate publisher. I’ve been thinking a lot about what to say, and how to talk about my book in general.

I will not use this space to workshop anything, I promise. I’m not here to sell this book to you. But I do think my many years as a books journalist has primed me to understand what makes for a good talk, and I want to tell you about what I think works, while also reminding myself. Stage fright is real, after all.

I won’t have a script, just a few notes. I know how important it is to actually have a conversation, and that means being present and listening to what other people are saying, too.

The goal is to talk about the book in more detail than the marketing copy that my editor so carefully crafted for me, but to still be pithy and precise. The book has gone through so many iterations, and I have to have a handle on what it is now, after many rounds of edits and much feedback from my agent and editor and a few trusted friends.

In my career covering books, in podcasts and in print, I’ve conducted hundreds of author interviews, and the very best ones featured writers who were able to make a tight, cohesive narrative out of, well, the narrative they’d already written. As an author, getting the story right is the most important part of writing a book, but getting the story of the story right is the most important part of promoting it, of getting readers to want to buy it.

Often the authors who have the best grasp on the concept of storytelling to sell their own work are also teachers, the ones who are used to speaking to an audience in classes and keeping their attention until the end of the session. The biggest pros I’ve encountered have four or five stories that they can trot out for any occasion when they’re talking about the book. Does this mean that every article or interview they do is entirely original? Absolutely not. Do average readers read every single piece of press that’s written about a particular book, even the ones they’re interested in? Absolutely not.

It has just about always been the job of the author to help sell the book long after they’ve finished the job of writing it. I think we like to pretend that in the past authors could simply write a book and then keep their heads down, letting their publishers take care of getting the word out. To be fair, before the technological changes of the 21st century (namely social media) authors could be more passive in the promotion of their books—Philip Roth never had to connect with readers on Twitter or do a bunch of podcasts, after all. But he did have to, in interviews and at bookstore talks and signings, make readers want to buy what he was selling.

Now, in a landscape where books don’t get tons of traditional media coverage and social media overall gets less and less reliable, it’s more important than ever for authors to take an active role in talking about their books (reminder: we love our in-house publicists and marketing gurus, but there’s only so much they can do on a tight schedule with a punishing work load). As icky as it may feel to have to be the chief salesperson of one’s own book as well as the writer, who else has more of a vested interest in making sure the book finds readers?

My hope is that after I’ve discussed my book today, more people in the industry will actually get a chance to read it, and they’ll be able to tell me what they think my book is about. They have more distance from the work than I do, and I welcome their interpretations. In fact I welcome any good faith takes on my book, although because I am also the chief protector of my own sensitive feelings, I may not have the emotional bandwidth to consider them all.”

I agree with what Maris says, and I’d like to add some points:

  • Her listeners will want to know what the book is about – no more than three sentences: time, place and key events.
  • They don’t want to hear a summary of the plot.
  • They will be interested in anything particularly unusual about a key character or event.
  • You can talk briefly about the development arc of a key character – particularly if it’s positive.
  • If you had to do some special research (interviewing people/going places), that’s worth mentioning.
  • They would like to hear from you about what makes you feel good about the book.
  • How about touching on what motivated you to write the book, and how you got the idea for it.