Books, Weirdness

The Meaning of Life

The more you look at the history of Homo sapiens, it’s all about movement, right from the very first time they decided to leave Africa. It is this restlessness which seems a very significant factor in the way the planet was settled by humans. It does seem that we are not settled. We think we are, but we are still looking for somewhere else where something is better – where it’s warmer, it’s more pleasant. Maybe there is an element, a spiritual element, of hope in this – that you are going to find somewhere that is wonderful. It’s the search for paradise, the search for the perfect land – maybe that’s at the bottom of it all, all the time.

A History of the World in 100 Objects (Neil MacGregor)

The world is barely there at all. Don’t we all secretly know this? It’s a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery-glass we call life. Behind it? Below it and around it? Chaos, storms. Men with hammers, men with knives, men with guns. Women who twist what they cannot dominate and belittle what they cannot understand. A universe of horror and loss surrounding a single lighted stage where mortals dance in defiance of the dark.

Humans were built to look back; that’s why we have that swivel joint in our necks.

Kids forget. Every teacher knows this. And they think they’re going to live forever.

11/22/63 (Stephen King)

It all goes back and back to our mothers and fathers and theirs before them. We are puppets dancing on the strings of those who came before us, and one day our own children will take up our strings and dance on in our steads.

The lines that explain what those Darn Seven Books are all about.

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Books, Manga

Impulse Buy of the Day

I don’t do this often, but when a book comes highly recommended by the Sage of Northampton, bears a foreword written by him, and is signed by both the author and the Foreword Writer, I do not argue with Fate. Bought immediately, and paid for international shipping too. The reviews on Amazon are glorious, and reminds me of pre-Jonathan Strange/Mr Norrell buzz for Susanna Clarke. (And that reminds me that I should probably reread that book too).

From the foreword:

A genre that has been reduced by lazy stylisation to a narrow lexicon of signifiers … wizards, warriors, dwarves and dragons … is a genre with no room for Bunyan’s Pilgrim’s Progress, arguably the earliest picaresque questing fantasy; for David Lindsay’s Voyage to Arcturus with its constantly morphing vistas and transmogrifying characters; for Mervyn Peake’s extraordinary Gormenghast books or for Michael Moorcock’s cut-silk Gloriana. It is certainly a genre insufficient to contain the vegetable eternities of Catling’s Vorrh.

Here’s where you can buy a signed copy. (No guarantees though, as the small print says.) Apparently all of the signed copies are sold out, and I got one. The confirmation email came in today morning.

Other than that, I have been rereading some old manga favorites. Among them is Crying Freeman. I bought the complete Dark Horse set a while ago at the low low price of $1 per volume – I have the Viz comics and you will agree that reading them pamphlets gets a little annoying, even though some of the coloring adds to the eightiesness of the series. It’s over-the-top seinen action, with lots of photo-referenced art by Ryoichi Ikegami, and it is just as I remembered it – brimming with the kind of content that sets librarians and conscientious parents aflutter, the kind of salacious visuals that attracts giggling clusters of school-kids in Landmark, where the books stay misfiled in the children’s section. Crying Freeman is the kind of thing Dr. Fredric Wertham warned the world about, people. Do not file it in the children’s section, not unless you want kids to wonder why women have white areas in their groin, whether Chinese assassins really strip to their underwear before jumping up on Russian wrestlers’ shoulders, and if it is possible for a man to cover himself in cement and not burn to a crisp when attacked by a janitor with a flame-thrower. And how a Japanese man can be a master artist, a master assassin, and the Greatest Lover Ever. This book is testament to the fact that manga writer Kazuo Koike is what Stan Lee would be without the Comics Code Authority to keep him in check. And Crying Freeman is what an Amitabh Bachchan character would really be in the 70s, without the castration anxiety of the Indian Censor Board. Mull about the ocean of possibilities for a while.

This reminds me that the high-point of Comicon this year was getting to meet Koike in the flesh. I queued to meet him three times, just because there was a 2-item cap on signatures; I probably would have gone a few more times had there not been other events to attend. Kazuo Koike, man. Never thought I would get to thank him in person. Insert a twenty-one gun salute moment for Dark Horse Comics here.

The other series I read – after a gap of nearly seven years – was Planetes by Makoto Yukimura. Long out of print, I picked up the series on a whim from a collector whose bookshelves I emptied back when I was an established Emptier of Bookshelves, a veritable patron saint of Liquidators. (Ironically, swathes of my floppy comics are now making their way to different parts of the world, as I succumb to Omnibus upgrades). Coming back to Planetes, this is the sort of manga that serves as a gateway to anyone not used to the medium. It’s a series of interconnected glimpses into the lives of a motley crew on board an orbiting garbage disposal unit, set in the year 2070 or thereabouts, when mankind has made a little more progress in space travel. Over the course of 5 volumes, we see how the passage of time affects the daily lives of the astronauts, how their lives and those of the ones they love have intertwined, and the effect that a planned Jupiter Exploration has on them. It is the kind of manga that floats around in your brain after you have finished reading it, with a bewildering attention to detail and a penchant for capturing the exact texture of a moment in time. If you have read Ba/Moon’s Daytripper or Thompson’s Blankets, you know what I mean. It’s a shame it’s not available on the market at the moment, I wish someone like Vertical would bring it back in an Omnibus (they totally can, it’s Kodansha). I would probably buy it for everyone I know.

There is an anime based on the series. I know it’s good, from all the buzz I have heard about it, but I have to finish it some time. I stopped at 2 episodes the last time I started. Or you can read the manga online, for free.

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Myself

A Scummy Habit of the Past

This is something that bothers me.

When in Guwahati, there would be periods when there was no more new reading material to be had. Specifically, January and February just after the Guwahati Book Fair was over, and around August-September after summer vacations. The local children’s library would not be updated for a few months, and booksellers would fend off questions about fresh stock. In that time of book-famine, one had to be sure that one’s biblical reserves were taken care of. Items bought at the Book Fair should not be consumed immediately, and there should be an adequate buffer of consumables for those never-ending periods. The same thing went for music. Back then, the only new music I actively bought was AR Rahman soundtracks, and those were twice-a-year releases, too.

This continued even in college, where weekends of Hyderabad travel, where trips to second-hand bookstores would yield stocks of reading material for a month or so, but one missed monthly trip and I was down to figuring out who had something readable in their hostel rooms, or worse – think of reading actual (shudder) text-books.

So I got into this habit of deferring consumption until there was a sufficient number of items in the queue. Pacing myself, not over-indulging. This served me well at that time, and forced rereads to a minimum. I call it the Scarcity Voice. It gives me pause before I go wild. As I look at a full run on my shelves, and am about to lunge at it, it whispers that if I read it, there is nothing else left. Once upon a time, this was a Very Good Thing.

The problem has long gone, there is no dearth of consumable matter, nowadays. But this habit of not pouncing on a book immediately after having bought it, it’s there still and it …it bothers me. There are times I want to froth at the mouth and go on a Rampage of Rapid Reading, just to show the Scarcity Voice who is boss. And sometimes I do. I chuckled over the first two (out of five) Vizbig volumes of Dragon Ball last night. Not caring that there are only three volumes left.

But the Voice comes back, it does. Which is why I bought the nine Vizbig volumes of Dragon Ball Z on an unplanned eBay run. (blush)

Fuck.

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Manga

A few revelations about the Manga business

The other comics event this July was the Los Angeles Anime Expo, where I spent a glorious few days talking manga with knowledgeable, enthusiastic people, gaping at toys and action figures, and filling in holes in my collection with $1 manga blow-outs. The panels at the Expo were very accessible – no SDCC-level long lines or waiting times. I had the opportunity to talk a bit with Carl Horn, the editor of Dark Horse manga, and with Ed Chavez, publisher, Vertical, both being companies that rock my world with their fantastic titles. When chatting with them, I found out certain things that make me look at the whole business in a different way altogether.

  1. When I asked them the number of copies they should sell in order to be profitable, for a single volume, the number Carl gave me was 2500, and Ed said 3000. This is a stunningly low number in my opinion, to think that these great stories do not sell that many copies around the world. Yes, both companies have their superstar titles – Vertical had Tezuka’s Buddha and Kirihito; Gundam: The Origin and Chi’s Sweet Home, while DHM has Berserk, Gantz and Blade of the Immortal, among others. But the number of buyers for out-of-the-ordinary titles like Kurosagi Corpse Delivery Service or Twin Spica or Hiroshi Endo’s Eden is painfully low.
  2. Long-running series are hit the worst, as the number of readers slowly degrade over time and the number of volumes. Dark Horse deals with this by limiting the number of releases of slow-selling titles to one per year, while Vertical refuses to handle long-running series (any series that is beyond 4 or 5 volumes). One exception so far for Vertical is the Gundam: Origin series, which have been pre-order hits. But that is to be explained away by the fact that the Gundam franchise is a juggernaut.
  3. Picking a new series to license involves a complicated algorithm. Vertical has working relationships with certain Japanese companies such as Tezuka Productions and Kodansha. The latter has its own US publishing arm, after having licensed some of its heavy-hitters to other US companies in the past – Akira to Epic and Dark Horse for example.  Vertical’s relationship with others companies like Akita Shoten, Shogakukan and Shueisha is non-existent.
  4. Kodansha nowadays publishes its popular titles (Attack on TitanAkira) themselves, and license titles like Drops of God to Vertical.
  5. Vertical lost money on GTO: The Early Years (or Shonan Junai Gumi) which was the prequel to the best-selling GTO manga published by Tokyopop. The latter went out of business a few years ago, leaving a bunch of licenses high and dry, a great number of titles out-of-print. Vertical picked up GTO Early Years from volume 10 onwards, where Tokyopop had left them unfinished. Sales were dismal, despite a good price-point and titles being released in two-volume omnibuses.
  6. Most of the Tezuka titles that Vertical has licensed will not be reprinted. This is because of an initiative by the Tezuka estate and the company Digital Manga Publishing, by which DMP owns rights to print all of Tezuka’s oeuvre in English digitally. Titles such as Black Jack and Princess Knight are already going out of print.
  7.  Vertical has tri-annual reader polls on what titles they should license from Japan. They have some conditions about which books they cannot publish – anything before 2000, no long series, no Go Nagai books, and no novels, because they have a long list of novels already. (They published Takeshi Kitano’s A Guru is Born, and Koji Suzuki’s Edge, which won the Shirley Jackson award this year)
  8. Dark Horse seems more focused on franchises that worked out well already, and creators associated with those franchises. They are about to publish Shin Kozure Okami, the sequel to Lone Wolf and Cub, along with more books by Clamp, Yashuhiro Nightow and Yoshitaka Amano. Titles such as Lone Wolf and Trigun are being rereleased in omnibus format.
  9. Long running DHP titles such as Blade of the Immortal and Gantz end soon, and it will be interesting to see what takes their place.
  10. Both Carl and Ed are very disappointed with the titles that did not work out. Twin Spica was licensed because it was a huge success in Japan, but fared much worse than Seven Billion Needles. The wine-themed Drops of God is a bestseller in France and Japan, but lost a lot of readers by volume 4, making it unfeasible to publish (it is up to 25+ volumes in France). Dark Horse could not complete the five-volume Satsuma Gishiden by Hiroshi Hirata, and Eden has been on hiatus for a long time (after 13 volumes published out of 18) despite getting rave reviews initially. Blood Blockade Battlefront, by Trigun creator Yashuhiro Nightow isn’t selling as expected either.
  11. Despite all this, there is a manga resurgence of sorts. More and more people are reading manga, and Josei titles like Utsubora and Moyoco Anno’s Sakuran are making their way to fans and readers.

The high-point of AX was getting to meet director Makoto Shinkai, director of Five Centimeters Per Second and The Garden of Words. Shinkai-san is much younger than I thought, and the line for his signing went around four corners of the gigantic lounge. A lesser person would have capped the line when he saw the crowd and that there were 20 minutes remaining, but Shinkai-san blazed through the line, saying “we can do it!”. I got my copy of the Five Centimeters manga signed. It was published by Vertical, but you knew that already, didn’t you?

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Books

The Quotable Jaron Lanier

futureuscover

I usually do not take notes when reading a book, but Jaron Lanier‘s Who Owns the Future is a delicious collection of insights about our modern world that just begged to be remarked upon. This book had the rare quality of making me rethink my own standpoint about the digital economy.

These days music is more than a need to be met. Musicians who seek to make a living are goaded by the preferences of the marketplace into becoming symbols of a culture or a counterculture. The counter-cultural ones become a little wounded, vulnerable, wild, dangerous, or strange. Music is no longer a nutrient to be supplied, but something more mystical, a forge of meaning and identity: the realization of flow in life.

***

Copying a musician’s music ruins economic dignity. It doesn’t necessarily deny the musician any form of income, but it does mean that the musician is restricted to a real-time economic life. That means one gets paid to perform, perhaps, but not paid for music one has recorded in the past. It is one thing to sing for your supper occasionally, but to have to do so for every meal forces you into a peasant’s dilemma. The peasant’s dilemma is that there’s no buffer. A musician who is sick or old, or who has a sick kid, cannot perform and cannot earn. A few musicians, a very tiny number indeed, will do well, but even the most successful real-time-only careers can fall apart suddenly because of a spate of bad luck. Real life cannot avoid those spates, so eventually almost everyone living a real-time economic life falls on hard times. Meanwhile, some third-party spy service like a social network or search engine will invariably create persistent wealth from the information that is copied, the recordings. A musician living a real-time career, divorced from what used to be commonplace levees like royalties or mechanicals, is still free to pursue reputation and even income (through live gigs, T-shirts, etc.), but no longer wealth. The wealth goes to the central server.

***

Money forgets. Unlike the earliest ancient clay markings, mass-produced money, created first as coins—and much later on a printing press—no longer remembered the story of its individual conception. If we were to know the history of each dollar, the world would be torn apart by war to an even greater degree than it already is, because people are even more clannish than greedy. Money allows blood enemies to collaborate; when money changes hands we forget for at least a moment the history of conflict and the potential for revenge.

***

Liars have to have the best memories. It’s more work to keep two sets of books than one set of books. The plague of toxic assets and mega-pyramid schemes, and the pointless growth spurt of the financial services sector would all have been impossible without vast computational resources remembering and sorting all the details needed to snooker people. The most egregious modern liars not only need computers, they can be inspired by them.

***

In antenimbosian* days, a local baker could deliver fresh bread more readily than a distant bread factory, even if the factory bread was cheaper, and a local banker could discern who was likely to repay a loan better than a distant analyst could. Each person who found success in a market economy was a local star.

Antenimbosian : ‘before the cloud’. What a lovely word!

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You never know how long it will take for scientific conclusions about big data to form. Science gives up the best punch lines ever, but delivers them with the most inconsistent timing.

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In either case, once a Siren Server starts to get fooled by phony data, a dance begins. The Server hires mathematicians and Artificial Intelligence experts who try to use pure logic at a distance to filter out the lies. But to lie is not to be dumb. An arms race inevitably ensues, in which the hive mind of fakers attempts to outsmart a few clever programmers, and the balance of power shifts day to day.

Lanier uses the term ‘Siren Server’ for giant corporate farms of computers, that collect freely-volunteered information about our lives without consent, and are now being used for huge financial benefit by a super-rich few. The term “Siren” is used in the Greek mythological sense, and not in the fire-engine sense.

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Every little genetic feature of you, from the crook of the corner of your eye to much of the way your body moves when you listen to music, was framed and formed by the negative spaces carved out by the pre-reproductive deaths of your would-be ancestors over hundreds of millions of years. You are the reverse image of inconceivable epochs of heartbreak and cruelty.

Just among the many delightful lines Lanier throws in about music and its effect on humankind.

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We have been obliged to invent our way out of the mess caused by our last inventions since we became human. It is our identity.

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For better or worse, however, we technologists have made Kirk’s Wager: We believe that all this work will make the future better than the past.

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Here’s typical advice I’d give to someone who wants to try the Silicon Valley startup game: Obviously you have to get someone else to do something on your server. This can start out as a petty activity. eBay started out as a trading site for people who collected Pez candy dispensers. The key is that it’s your server. If you’re getting a lot of traffic through someone else’s server, then you’re not really playing the game. If you get a lot of hits on a Facebook page, or for your pieces on the Huffington Post, then you are playing a little game, not the big game.

***

These click-through agreements are the grandiosely verbose descendants of the Zen koan about a tree falling in a forest that no one hears. No one will read them, so they are very unlikely to be tested in a legal proceeding. No one wants to read them, not even lawyers. Some lawyer at the Electronic Frontier Foundation or some such place might occasionally be able to make it through one of them, but that is rare. Since they are unread, they basically do not exist, except for setting the basic rule everyone understands, which is that the server takes no risks, only the users of the server.

***

Seeing movies and listening to music suggested to us by algorithms is relatively harmless, I suppose. But I hope that once in a while the users of those services resist the recommendations; our exposure to art shouldn’t be hemmed in by an algorithm that we merely want to believe predicts our tastes accurately. These algorithms do not represent emotion or meaning, only statistics and correlations.

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The successful guru is neither universally nor arbitrarily scornful to followers, but there should be enough randomness to keep the followers guessing and off guard. When praise comes, it should be utterly piercing and luminous, so as to make the recipient feel as though they’ve never known love before that moment. Apple’s relationship with its customers often followed a similar course.

Jobs imported the marketing techniques of India’s gurus to the business of computation. Another way in which Jobs emulated the practices of gurus is in the psychology of pseudo-asceticism. Consider the way he used physical spaces. Jobs always created both personal and workspaces that were spare like an ashram, but it is the white Apple store interior that most recalls the ashram. White conveys purity, a holy place beyond reproach. At the same time, the white space must be highly structured and formal. There must be a tangible aura of discipline and adherence to the master’s plan.

***

Economics is not about your taste. Economics, once people have risen above basic needs into the middle class, is about the tastes of other people, whether you like it or not. It’s hard to say how much of the present-day economy is based on taste instead of need, since, as Abraham Maslow pointed out, the line shifts. At the very least, not only entertainment, but titanic industries like cosmetics, sports and recreation, tourism, design, fashion, hospitality, dining, hobbies, grooming, cosmetic surgery, and the majority of the activities of geekdom ought to count as “tastes” that have turned into needs as far as commerce is concerned.

***

To survive, the book business has to define a product for the upper horn, for the rich. In the music business, that upper tier takes the form of insanely expensive audiophile equipment and super-high-quality limited editions on vinyl. In the book business, there should be hyperlimited editions of books like this one, hand copied by monks onto handmade paper, using organic fair-trade inks, and sold only in VIP rooms at parties where almost no one can get in.

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Civilization will remain by definition a mostly voluntary project, a miracle.

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The book is too idealistic a read, at times. It does not veer into futurism and utopian worldviews, but just barely. Will be interesting to see how its views hold up in a few years.

And finally:

The core ideal of the Internet is that one trusts people, and that given an opportunity, people will find their way to be reasonably decent. I happily restate my loyalty to that ideal. It’s all we have.

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