Is Waterstones eating itself?

What good is an e-reader, without anything good to e-read?

It was depressing enough watching HMV cannibalise itself: devoting a mushrooming allotment of floor space to “devices” and “accessories”, without having to watch the nation’s premier bookseller do the same. Perusing the shelves in Waterstones (look, mum, no apostrophe!) this afternoon, I observed that one of the display tables had been pilfered from an Apple retail store, while another – pilfered, by the looks of it, from the now defunct Habitat – consisted of a collection of leather and plastic dust jackets, aimed at keeping safe the retailer’s bright new hope: the Amazon Kindle.

Being interested in books and harbouring a futile concern for their well-being, I knew this was coming. I was, am and will remain ambivalent about e-readers and what they mean for literature. (A question which is almost always subservient to the question of what they mean for “the industry”.) I await developments with great interest: by no means a technophobe, but certainly a bibliophile. What I found difficult to understand about the new arrangement was the weak defence made on behalf of books. Opposite the Kindle playground stood a bookshelf labelled “Beautiful Books”, presumably an argument about the desirability of paper-and-ink and the surrounding culture. In other words: the Luddite’s retort. The shelf held a series of ugly readers-digest-wouldn’t-even-go-there stocking-filler anthologies, making no strong claims for either beauty or books. And this to distract the endlessly distracted? Try again.

These books, great though they may be (I do not know, I suppose it depends how much you like crosswords), do not make an adequate riposte to the collection of proddable black mirrors jittering and flashing on the new display. A shelf stacked with books is both functional and aesthetic, furniture and form. It is an endless repository of colour, exploration and experience. The texts look fine on electronic devices, but as for the objects themselves? Most already look like they belong in a box labelled “80s” – along with a brick-sized mobile phone and a languid Betamax.

What would a world in which there were endless methods of consuming “content”, but hardly any “content” to consume, look like? In two words: Hong Kong. Nowhere on earth have I seen so many shop-floors dedicated to entertainment technology, with so few offering anything to play. Arguably, the piracy problem in China is not a question of morals, it is a question of taste, and the result of cynical business models. It is equally hard to find Bach’s cello suites as it is Sasha Grey’s Homo Erectus. Both are best discovered in pop-up stalls and underground markets around Sham Shui Po or Causeway Bay. Culture in China – like pornography – is an underground affair.

We are all responsible for the downward trend. In being so eager to sup the latest nectar from the Apple tree, we have failed to see that devices which play “your favourite tunes” or “the latest Hollywood blockbuster” are predicated on a vibrant, credible and worthwhile culture to begin with. If creativity is not nurtured, valued and appreciated where it matters most, we will all have been accessories to the fact. And all those devices flooding the loft will be evidence of our misplaced passions.

Five minutes’ walk from the Waterstones in question lies the Cheapside Daunt Books: a store whose anti-“stack ‘em high” policy has worked wonders, turning over a profit of £912,966 last year. It might be hard for Londoners to imagine a world in which Foyles or Daunt Books do not exist, but spare a thought for the rest of the country’s cities and towns, where it is not uncommon to find Waterstones is the only source of serious books left (library budgets, lest we forget, are being evaluated quicker than you can say tighten your belt). Failure here, is not desirable. The company’s flagship store on Piccadilly Circus has recently been taken over by the team from Nottingham town centre, about whom Daunt has said: “You walk into that store and you say ‘My Lord’ this is a very good example of a shop that has been given autonomy and knows how to get on with it.”

“Amazon are a fact of life,” he continues. “I use Amazon. But we do something else.”

Clearly that something else needs fine-tuning in this particular branch, but with Daunt at the helm – his enthusiasm and love of books, is highly infectious – my hope is that we can extend the franchise, not diminish it. Below are a handful of titles published this year, selected by Nico Taylor, book designer at HarperCollins.

Kimberly's Capital Punishment by Richard Milward. Faber, 2012. Design: Faber.

"Perfectly simple and bold design that does a great job of subtly suggesting the raw and surreal contents within."

The Book Of Life by Stuart Nadler. Picador, 2012. Design: David Pearson.

"David Pearson, of Penguin Great Ideas fame, produces another striking and elegant typographic cover."

The Flame Alphabet by Ben Marcus. Granta, 2012. Design: Peter Mendelsund.

"Such an aesthetically pleasing cover with its vibrant colour palette and cut out paper design which can't help but beg you to pick it up, and in an age when some are starting to see book covers as just flat pixels we see on screens, this can only be a good thing."

The Creator by Guorun Eva Minervudottir. Granta, 2012. Design: Fuel.

"Under the art direction of Michael Salu, Granta have been consistently producing fantastically unique and striking covers for the past year or so and this is no exception with its slightly sinister marriage between title and image."

E-readers jittering and flashing at the Frankfurt Book Fair. Photo: Getty Images.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

Iain Cameron
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Meet Scotland's 300-year-old snow patch, the Sphinx

Snow patch watchers expect it to melt away by the weekend. 

This weekend, Scotland's most resilient snow patch, dubbed Sphinx, is expected to melt away. The news has been met with a surprising outpouring of emotion and nationwide coverage. Even The Financial Times covered the story with the headline "The end is nigh for Britain's last snow". The story has also gone international, featuring in radio reports as far away as New Zealand.

So what is it about Sphinx that has captured the public’s imagination?  Some have suggested it could be symbolic. The Sphinx represents how we all feel, helpless and doomed to a fate determined by leaders like Donald Trump and Kim Jong Un. 

Regular contributors to the Facebook page “Snow Patches in Scotland”  have their own, more prosaic theories. One tells me that the British are “generally a bit obsessed with weather and climate”, while another says snow-patches are "more interesting than anything Trump/May/Boris or Vladimir have to say”.

Those more interested in patches of snow than the existential consequences of international relations could be dismissed as having seriously skewed priorities, but there's more to the story of Sphinx than lies on the surface. 

For a start it's thought to be 300 years old, covering a small square of the Cairngorms for centuries with just six brief interruptions. Last time the Sphinx disappeared was 11 years ago. Though it may melt away this weekend, it is expected to be back by winter. 

Iain Cameron, the man who set up the Facebook page "Snow Patches in Scotland" and someone who has recorded and measured snow patches since he was a young boy, says that Sphinx has shrunk to the size of a large dinner table and he expects it will have melted entirely by this Saturday.

It came close to disappearing in 2011 as well, he adds. In October of that year, Sphinx at around its current size and only a heavy snowstorm revived it.

"They tend to keep the same shape and form every year," Cameron tells me. "It might sound weird to say, but it’s like seeing an elderly relative or an old friend. You’re slightly disappointed if it’s not in as good a condition."

But why has Sphinx survived for so long? The patch of land that Sphinx lies above faces towards the North East, meaning it is sheltered from the elements by large natural formations called Corries and avoids the bulk of what sunlight northern Scotland has to offer. 

It also sits on a bid of soil rather than boulder-fields, unlike the snow patches on Britain's highest mountain Ben Nevis. Boulder-fields allow air through them, but the soil does not, meaning the Sphinx melts only from the top.

Cameron is hesistant to attribute the increased rate of Sphinx's melting to climate change. He says meterologists can decide the causes based on the data which he and his fellow anoraks (as he calls them) collect. 

That data shows that over the past 11 years since Sphinx last melted it has changed size each year, not following any discernable pattern. “There is no rhyme or reason because of the vagaries of the Scottish climate," says Cameron.

One thing that has changed is Sphinx's title is no longer quite so secure. There is another snow patch in near Ben Nevis vying for the position of the last in Scotland. Cameron says that it is 50:50 as to which one will go first.