It is Shelley Jackson’s view that books are not a “natural evolutionary end,” but that books (in terms of both their physical makeup and linear construction style) are merely “formal devices,” or man-made constructions of literature that have defended from early humanity’s first interactions with literature. Yet, the formal structure of the book is still changing—especially exhibited by the contemporary author-publisher relationship. This business model contributes to the constraints placed on publishing, determining what content reaches readers.
Publishers maintain a hold on a book’s final version, working with editors to augment an author’s manuscript. Why? To make it appropriate for audiences to read. In this lies a constraint often overlooked: our favorite versions of popular novels probably do not resemble their original drafts. If they did, would they be less “linear” or more like Jackson’s “favorite texts,” defying “the linear”?
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