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Essay, term paper, research paper: Nathaniel Hawthorne

Divorced by time and progress from whatever socially progressive message it may once have had, Cathy lives on as a cutesy, tape-it-to-your-cubicle strip that gives voice to the myriad ever-present annoyances that seem so very important but are really no more than the normal bumps on the road of every day. What was once a novel voice of understanding to a generation finding its way is now a shrill whine that grates on the ears of a new generation.

I have been taken to task for shirking my Hippocratic oath and refusing to treat this patient. My initial opinion of the above comic was that it made no freaking sense. Originally published on January 13, , this strip finds Cathy and Irving sharing a tender moment on the couch.

Irving is utterly content to wallow in filth, watching TV. At first I thought he was playing video games, because both of his hands are engaged, but the second panel punches in to reveal a remote control or Wiimote in his hand.

That is the basic principle of the remote control. Yet Irving cradles the remote in his left hand and jabs at it with his finger. In the second panel, Cathy turns to Irving. He seizes the opening. Are receipts really that important, Cathy? Now a new facet emerges: She is clearly uninterested in giving herself wholly to the man with whom she shares a house — not emotionally, not experientially, and not, as we can see from this strip, physically. How could she be more excited by the prospect of vacuuming up dog hair from the carpet than by spontaneous romance?

Cathy is a broken person. I cannot overemphasize this final point enough. But now we see that the freakouts are part of a larger defense mechanism — by obsessing over receipts, she never has to deal with the more pressing question of intimacy. By doting on her dog, she never has to enter into a mature, adult relationship with her husband. The empowerment that Guisewite has devised for Modern Woman has become her prison.

She spent so much time fighting to get into the workplace that she never stopped to think about whether it was what she really wanted. When Cathy is on her deathbed, the things she will regret will be unrelated to the size of swimsuits. The assumption here, based on the Kevin Smith reference, is that what Cathy dumps on Irving is his comic book collection.

However, this assumes a baseline familiarity with comic collecting on the part of the reader. Part of the difficulty faced by Guisewite and other mass-market cartoonists is the urge to make every single strip as broad and accessible as possible. One of the many advantages that I enjoy relative to cartoonists like Guisewite is the ability to revise the work.

But online, there is no such finality, and no need to abandon work that can still be improved. You can follow any responses to this entry through the RSS 2. Both comments and pings are currently closed. Permission to hotlink and embed is granted, if you link back to the source page.

Click any of the smaller images to zoom in on them. As she puts it: Seriously, a money order? A slightly built, balding gnome of a man, Bezos often struck others as enigmatic, remote and odd.

If not exactly cuddly, he was charismatic in an otherworldly sort of way. It was like he could be a Martian for all I knew. A well-meaning, nice Martian. Amazon, by contrast, was virtually limitless in its offerings. Bezos was then, as he has been ever since, at pains to assure independent bookstores that his new business was no threat to them. The independents were alarmed by these and other aggressive strategies. Clerks at the chains might not intimately know the tastes and predilections of the surrounding neighborhood, but the price was right: The death toll tells the tale.

Two decades ago, there were about 4, independent bookstores in the United States; only about 1, remain. And now, even the victors are imperiled. The fate of the two largest US chain bookstores—themselves partly responsible for putting smaller stores to the sword—is instructive: But the very idea of owning a bookstore strikes most savvy investors as forlorn. In recent weeks, Microsoft Corp. For many of us, the notion that bricks-and-mortar bookstores might one day disappear was unthinkable.

Like shrines and other sacred meeting places, bookstores are essential artifacts of human nature. The feel of a book taken from the shelf and held in the hand is a magical experience, linking writer to reader. These magical devices, ever more beautiful and nimble in design, have only to be lightly rubbed for the genie of literature to be summoned. Appetite for these idols, especially among the young, is insatiable.

For these readers, what counts is whether and how books will be made available to the greatest number of people at the cheapest possible price. Whether readers find books in bookstores or a digital device matters not at all; what matters is cost and ease of access. Then try to find a bookstore. Bookstores have lost their mojo. Yet still there is no peace; a new war rages for the future of publishing. Many publishers and authors were flabbergasted, accusing the Obama administration of having gone after the wrong culprit.

Just as bookselling is increasingly virtual, so is publishing. Technology democratizes both the means of production and distribution. The implications for traditional publishers are acute. Amazon, not surprisingly, is keen to sharpen its competitive edge, to use every means at its disposal to confound, stymie and overpower its rivals.

It is well positioned to do so: Soon it was not unusual to see e-book sales jump by percent over the previous year. An estimated 3 million e-readers were sold in , the year Amazon began to sell its Kindle 2, the first e-reader available globally. Turning the pages…the book is always flopping itself shut at the wrong moment. Barely a year after Apple launched the iPad, it had sold more than 15 million worldwide. Just three years ago, only 2 percent of Americans had an e-reader or a tablet; by January of this year, the figure was 28 percent.

And Amazon, despite watching its market share drop from 90 percent of the American e-book market in to about 55—60 percent today, reached a milestone just under three years after the Kindle was introduced.

The history of writing, however, gives us every reason to be confident that new forms of literary excellence will emerge, every bit as rigorous, pleasurable and enduring as the vaunted forms of yesteryear. Perhaps the discipline of tapping characters on Twitter will one day give rise to a form as admirable and elegant as haiku was in its day.

Perhaps the interactive features of graphic display and video interpolation, hyperlinks and the simultaneous display of multiple panels made possible by the World Wide Web will prompt new and compelling ways of telling one another the stories our species seems biologically programmed to tell.

Perhaps all this will add to the rich storehouse of an evolving literature whose contours we have only begun to glimpse, much less to imagine. Initially such sales were a tiny proportion of overall revenue; in , for instance, they were under 1 percent. By the end of it had more than tripled to 36 percent for the year. Soon one out of every three sales of adult trade titles will be in the form of an e-book. Readers of e-books are especially drawn to escapist and overtly commercial genres romance, mysteries and thrillers, science fiction , and in these categories e-book sales have bulked up to as large as 60 percent.

E-book sales are making inroads even with so-called literary fiction. Franzen, by the way, detests electronic books, and is also the guy who dissed Oprah when she had the gumption to pick his earlier novel, The Corrections , for her popular book club.

The inexorable shift in the United States from physical to digital books poses a palpable threat to the ways publishers have gone about their business. They have been too often complacent, allergic to new ideas, even incompetent. The inability of most traditional publishers to successfully adapt to technological change may be rooted in the retrograde editorial and marketing culture that has long characterized the publishing industry.

We also feared bloated overheads would hold editors hostage to an unsustainable commercial imperative. But little did we imagine that the blunderbuss for change would arrive in the form of an avaricious imperium called Amazon. It is something of a surprise to see so many now defending the practices of corporate publishers who, just yesterday, were excoriated as philistines out to coarsen the general culture. That assumption is now demonstrably wrong. Today, whether writers will continue to publish the old-fashioned way or go over to direct online publishing is an open question.

How it will be answered is at the heart of the struggle taking place between Amazon and traditional publishers. Amazon got big fast and is getting bigger, dwarfing all rivals. Amazon may be identified in the public mind with books, but the reality is that book sales account for a diminishing share of its overall business; the company is no longer principally a bookseller.

Amazon is now an online Walmart, and while 50 percent of its revenues are derived from music, TV shows, movies and, yes, books, another 50 percent comes from a diverse array of products and services. In the late s Bezos bought IMDb. He also owns Diapers. Now he seeks to colonize high-end fashion as well. Not unlike small independent bookstores, bricks-and-mortar retailers such as Walmart, Home Depot and Best Buy are feeling the ground give way beneath them. Amazon has sixty-nine data and fulfillment centers, seventeen of which were built in the past year alone, with more to come.

For the thousands of often older migratory baby boomers living out of RVs, who work furiously at the centers filling customer orders at almost literally a breakneck pace, it is, by all accounts, a high-stress job. It found that some employees risked stroke and heat exhaustion while running themselves ragged trying to fulfill quotas that resemble the onerous conditions so indelibly satirized by Charlie Chaplin in Modern Times.

Kiva, founded in and backed by, among others, Bain Capital Ventures, claims that three to four times as many orders per hour can be packed up by a worker using its robots.

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