Faber and Touchpress have launched a “groundbreaking” new mode of publishing, which explores the future of digital reading after ebooks.
Novelist Iain Pears has worked with the two media organisations to create a new reading experience which combines the traditional paperback novel with the new digital opportunities of the smartphone or tablet app.
His new work, Arcadia, has been conceived to be read as an app first and book second, with the application written using specially-commissioned software and developed for readers by Touchpress and Gaver, the partners behind multi-award-winning apps such as The Waste Land and Shakespeare’s Sonnets for iPad.
The e-novel gathers up ten characters in three different worlds, and presents them as a skein of coloured, intersecting lines. Short bursts of text propel the characters onward, or across into another storyline: the choice depends upon the reader.
But this is not your standard “choose your adventure” type model of writing – or reading. This interactive fiction enables every single individual reader to experience the story differently. The author controls the story universe, but how readers reave the three tales – pastoral utopia, 1950s Oxford and dystopian future – is deeply dependent on the individual turning the page (or, in this case, putting fingertip to touch screen).
“There are readers who are ‘acrossers’ and others who are ‘up and downers’,” says Henry Volans, director of Faber Press, a division of the app’s publisher, Faber & Faber. “It’s meant to be a rabbit hole that encourages all sorts of reading.”
Where will this rabbit hole end?
The Circumstance art collective in Bristol is set to follow a similar interactive model of app and primary text (or primary app and secondary text, as it may be, depending on your viewpoint), as the group prepare to publish a new version of “These pages fall like ash”: a combination of a print book and an urban-walking app that overlays an imaginary world onto the physical.
Some remain cautious of suggesting anything even more interactive could be produced, however. Lincoln Michel, of the website Electric Literature, says it is hard to imagine a truly digital novel because “we already have digital narratives – they’re called videogames”. Meanwhile, British novelist, Naomi Alderman, points to the intimate nature of reading, echoing the thoughts of many other readers and writers throughout the centuries: “There’s nothing like a novel to take you into the individual consciousness of a writer. But there are things that are choice-based that only video games can do.”
Human beings have always been story tellers. Part of the reason for our species’ success has been our ability to communicate – and in fact has been key to the rise of the digital era we currently live in. What we may be catching the first glimpses of is a new digital environment that begins to break the page. As Tom Abba, a scholar or digital narrative at the University of the West of England says: “We’re trying to nudge the reader into a new kind of relationship with the story.” In other words, the traditional models of reading are changing. The future of literature may be electric.