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Um levantamento do Instituto Pró-Livro confirma que o brasileiro lê pouco

eitores, que somam 95 milhões, leem, em média, 1,3 livro por ano. Incluídas as obras didáticas e pedagógicas, o número sobe para 4,7 - ainda assim baixo.

Retratos da Leitura no Brasil, feita com 5.012 pessoas em 311 municípios de todos os estados em 2007

O livro é pouco presente no imaginário do brasileiro

Estados Unidos, por exemplo, a população lê, em média, 11 livros por ano

os leitores, que somam 95 milhões, leem, em média, 1,3 livro por ano

77 milhões de não leitores

21 milhões são analfabetos

Incluídas as obras didáticas e pedagógicas, o número sobe para 4,7 - ainda assim baixo

Retratos da Leitura no Brasil, feita com 5.012 pessoas em 311 municípios de todos os estados em 2007

O livro é pouco presente no imaginário do brasileiro - explica o diretor do Livro, Leitura e Literatura do Ministério da Cultura, Fabiano dos Santos.

Estados Unidos, por exemplo, a população lê, em média, 11 livros por ano

franceses leem sete livros por ano, enquanto na Colômbia, a média é de 2,4 livros por ano

Os dados, de 2005, são da Câmara Brasileira do Livro (CBL) e do Sindicato Nacional dos Editores de Livros (Snel), que integram o Instituto Pró-Livro.

O levantamento considera como não leitores aqueles que declararam não ter lido nenhum livro nos últimos três meses, ainda que tenha lido ocasionalmente ou em outros meses do ano.

Entre os leitores, 41% disseram que gostam muito de ler no tempo livre, enquanto 13% admitiram que não gostam

entre os 95 milhões de leitores brasileiros, 75% disseram que sentem prazer ao ler um livro, mas 22% sustentaram que leem apenas por obrigação.

Fabiano dos Santos diz que há dois caminhos a percorrer para fazer do Brasil um país de leitores: ampliar o acesso ao livro e investir na formação de leitores.

Retratos da Leitura no Brasil sugere que a maior influência para a formação do hábito da leitura vem dos pais, o que explica o fato de que 63% dos não leitores informaram nunca terem visto os pais lendo.

o levantamento sugere que o hábito de ler é consolidado na escola e quanto maior o nível de escolaridade, maior o tempo dedicado à leitura

os entrevistados com ensino superior, há apenas 2% de não leitores e 20% disseram que dedicam entre quatro e dez horas por semana aos livros. Este índice cai para 12% entre estudantes do ensino médio.

casa e na escola, que os leitores são formados.

O professor de Literatura Dilvanio Albuquerque considera que o desinteresse do brasileiro pelos livros não pode ser atribuído apenas à família e à escola

o problema é cultural

Normalmente a universidade não oferece um bom acervo. Moramos em um país em que os livros são caros e de difícil acesso

Ananios was born
in 399 BC (the year of Socrates’ execution), in the obscure Arcadian town of
Kleitor.

he important
question is not what you and I make of these meagre fragments, but what –
according to George Economou – more than a millennium of inventive, zealous,
insane, repressed, evangelical, cock-happy, racist, murderous scholars can
do to them, given an inch or more

This is the story of how
words lose their meanings and gain new ones through the ages.

The problem with Nabokov

Martin Amis confronts the tortuous questions posed by a genius in decline

Language leads a double life – and so does the novelist.

Then you enter your study, where language exists in quite another form – as the stuff of patterned artifice

Most writers, I think, would want to go along with Vladimir Nabokov (1899-1977), when he reminisced in 1974:

the creative joy is authentic

Writers lead a double life. And they die doubly, too

Writers die twice: once when the body dies, and once when the talent dies.

Nabokov composed The Original of Laura, or what we have of it, against the clock of doom

It is not "A novel in fragments"

it is immediately recognisable as a longish short story struggling to become a novella

In this palatial edition, every left-hand page is blank, and every right-hand page reproduces Nabokov's manuscript (with its robust handwriting and fragile spelling – "bycycle", "stomack", "suprize")

It is nice, I dare say, to see those world-famous index cards up close

but in truth there is little in Laura that reverberates in the mind.

Otherwise and in general Laura is somewhere between larva and pupa (to use a lepidopteral metaphor), and very far from the finished imago.

It is infernal, for me, because I bow to no one in my love for this great and greatly inspiring genius

Nabokov, in his decline, imposes on even the keenest reader a horrible brew of piety, literal-mindedness, vulgarity and philistinism

Nothing much, in Laura, qualifies as a theme (ie, as a structural or at least a recurring motif)

In other words, Laura joins The Enchanter (1939), Lolita (1955), Ada (1970), Transparent Things (1972), and Look at the Harlequins! (1974) in unignorably concerning itself with the sexual despoiliation of very young girls

six fictions, two or perhaps three of which are spectacular masterpieces.

You will, I hope, admit that the hellish problem is at least Nabokovian in its complexity and ticklishness.

keitai shousetsu;

are the first literary genre to emerge from the cellular age via text messaging.

started out primarily read and authored by young Japanese women, on the subject of romantic fiction such as relationships, lovers, rape, love triangles, and pregnancy

are trickling their way to a worldwide popularity on all subjects.

Japanese ethos of the Internet regarding mobile phone novels are dominated by false names and forged identities

Differing from regular novels, mobile phone novels may be structured according to the authors preference

Overall, the line spacing of phone novels contains enough blank space for an easy read

Each chapter sent out by text message on mobile phones contains about 70-100 words due to the word limitation of each short message (either in Japanese or Chinese ^[1])

Most of the sentences are short, and in the form of dialogues.

They are downloaded in short installments and run on handsets as Java-based applications on a mobile phone

Cell phone novels often appear in three different formats: WMLD, JAVA and TXT.

Maho i-Land is the largest cell phone novel site that carries more than a million titles, mainly novice writers, all which are available for free.

Maho iLand provides templates for blogs and homepages.

In 2007 98 cell phone novels were published into books. "Love Sky" is a popular phone novel with approximately 12 million views on-line, written by "Mika", that was not only published but turned into a movie. ^[2]

www.textnovel.com is another popular mobile phone novel site, however, in English

The first cell phone novel was “published” in Japan in 2003 by a Tokyo man in his mid-thirties who calls himself "Yoshi". ^[2] His first cell phone novel was called Deep Love, the story of a teenager engaged in "subsidized dating" (enjo kosai) in Tokyo and contracting AIDS.

became so popular that it was published as an actual book, with 2.6 million copies sold in Japan

spun off into a television series, a manga, and a movie

The cell phone novel became a hit mainly through word of mouth and gradually started to gain traction in Taiwan, China, and South Korea among young adults

In Japan, several sites offer large prizes to authors (up to $100,000 US) and purchase the publishing rights to the novels.

Oliver Bendel is a well-known writer of cell phone novels in German-speaking countries.

Teenagers in South Africa have been downloading an m-novel - a specially-created story written just for mobile phones ^[4].

Reason for popularity

Japan was the original birthplace of the cell phone novel, the phenomenon soon moved to China, and many of the online writers are university students.

These writers understand what narratives will attract young readers, incorporating emergent events or trendy elements from teen culture into their stories.

Cell phone novels create a virtual world for teenagers via the mobile phone, or, more precisely, via text messages.

As in virtual online computer games, readers can put themselves into first person in the story.

Cell phone novels create a personal space for each individual reader. Paul Levinson, in Information on the Move (2004), says "...nowadays, a writer can write just about as easily, anywhere, as a reader can read" and they are "not only personal but portable"

The cell phone novel is changing reading habits; readers no longer need to physically go to a bookshop and purchase a book. They can go online using their cell phone, download a novel, and read it on their personal mobile phone anywhere, any time they wish.

Similar to the e-book, its mobility and convenience save time.

Dana Goodyear (2008) The New Yorker; "I <3 Novels" http://www.newyorker.com/reporting/2008/12/22/081222fa_fact_goodyear

Asahi Shimbun (2007) 普通の若者が携帯小説　ベストセラーも続々 http://book.asahi.com/clip/TKY200702100253.html

India gets its first Phone Novel in Malayalam.Written & Presented by P.R.Harikumar

Novels on your phone futureofthebook.org

Cell phones put to novel use Wired.com

New York Times article on cell phone novels New York Times