27 de junho de 2012

Exposição "Jorge Amado em Portugal"



Data: 28 de Junho a 7 de Setembro de 2012.
Local: Biblioteca Nacional de Portugal, Sala de Exposições - Piso 2.
Entrada: Livre.
A BNP assinala o centenário do nascimento de Jorge Amado (1912-2001) com uma exposição sobre os tempos e os modos de receção da sua obra no nosso país, desde o primeiro impacto intelectual, aliás de contornos polémicos, nos anos trinta do século XX, à projeção mediática que correspondeu à divulgação através de famosas séries televisivas e a passagem pelo cinema, após os anos setenta.

Escritor do «romance social», assim foi saudado nos anos trinta desde a edição de País do Carnaval (1931), tal como Cândido Portinari o foi na pintura. E, tanto pela qualidade da obra subitamente revelada como pela prolixidade na sucessão de títulos, então entrados em Portugal exclusivamente através das edições brasileiras, Jorge Amado constituiu principal referência dessa nova descoberta do Brasil, segundo expressão de Joaquim Namorado que viria a ser repetida por António Ramos de Almeida. Correspondeu aqui a uma mediação brasileira nos paradigmas literários do Neorrealismo português, acarretando com isso acesa polémica entre os representantes deste movimento e os escritores alinhados na revista Presença: célebre ficou a disputa entre José Régio, defensor da impossibilidade de projetar um receituário social brasileiro na realidade portuguesa, e Álvaro Cunhal, que empurrou tal polémica para um terreno exterior ao domínio estético-literário. A tais aspetos respeita a primeira secção da exposição, coincidente com a publicação da grande obra que foi Terras do Sem Fim (1943).

A segunda secção parte do momento em que a circulação das obras de Jorge Amado, por via brasileira ou mesmo francesa, começou a ser interditada, tanto mais a partir de Seara Vermelha (1946) e até Subterrâneos da Liberdade (1954). A sua receção atenuou-se nos limbos do silêncio, com raras edições portuguesas, e o escritor foi remetido para o subterrâneo dos processos policiais do Estado Novo, com direito a processo próprio. Após a edição de Gabriela, Cravo e Canela (1958) e a sua fulgurante projeção em todo o mundo, a higiene policial abriu a fresta das edições em Portugal (nomeadamente a deste último romance, publicado em 1960 sob impulso do editor Lyon de Castro e o envolvimento de Alves Redol) e permitiu a vinda do escritor ao nosso país em 1966. A partir daqui, podemos falar de uma cronologia das edições portuguesas: a multiplicação de edições e tiragens, não obstante a persistência policial em contraditar a ausência de censura oficial, permitiu uma receção pública mais alargada, a que não foi estranho o primeiro grande sobressalto da cultura de massas em Portugal nessa década.

Mas foi sobretudo após o 25 de Abril de 1974 que toda a obra de Jorge Amado conheceu integral edição, reforçada e alargada com a adaptação de alguns dos romances a séries televisivas, com um sucesso a raiar a novelofobia, e a versões cinematográficas que tornaram o escritor um best-seller editorial, já com várias chancelas empenhadas no êxito de mercado. Este é o enfoque da última secção da exposição, compreendida também a receção das obras adaptadas audiovisualmente por via da sua divulgação em revistas populares e de sucesso.

The Irish Journal of Gothic and Horror Studies n.º 11


A 11.ª edição acaba de ser lançada e inclui, para além das secções habituais (críticas, entrevistas, etc.), os seguintes artigos:
  • Brian Baker: Tape Spectra
  • Ana Finel Honigman: What Lies Beneath: Amie Dickie, Dawn Mellor and Goth Pop Art
  • Sinéad Sturgeon: ‘Seven Devils’: Gerald Griffin’s ‘The Brown Man’ and the Making of Irish Gothic
  • Fiona McCulloch: ‘Looking Back’: Scottish Queer Gothic Returns in Zoe Strachan’s Ever Fallen in Love
  • Hans Staats: Re-envisioning The Devil-Doll: Child’s Play and the Modern Horror Film
Greetings to all of our readers and contributors, and welcome to Issue # 11 of The Irish Journal of Gothic and Horror Studies.  This will be the last issue edited by ourselves, Bernice Murphy and Elizabeth McCarthy. We're delighted to say that journal stalwarts Jenny McDonnell and Dara Downey will be taking over as joint editors. When we published our first issue, back in October 2006, we did so with the strong belief that a free-access online journal dedicated to Gothic and Horror studies was a much-needed resource for academics and non-academics alike. Since then the journal has gone from strength to strength. This would not have been possible without the great team of people who have given their time and talent to the project.
The journal is now 6 years old, and in that time, we're very proud to have worked with such an efficient and hard-working team of section editors. We'd therefore like to thank Dara, Jenny and Eoin, as well as all of our article contributors, and our many reviewers. We'd especially like to thank all of our regular contributors and peer reviewers. We know that the journal is in very safe hands and that its new editors have lots of exciting ideas about updating it. We can't wait to see what issue #12 has in store! With this in mind, we would like to stress that submissions, etc, will proceed as usual.

26 de junho de 2012

Escritores famosos e a suas máquinas de escrever


Reports of the typewriter’s death have been greatly exaggerated. Newspapers all over the world might run headlines of their extinction (“Last Typewriter Factory Left in the World Closes Its Doors!”), but hey: newspaper editors love stories about extinction, as long as they’re not about newspapers. Even now, small office supply companies quietly manufacture typewriters, and boutique businesses now devote themselves to restoring the old beasts like prized antiques. As recently as 2009, the New York City Police Department spent close to $1 million on typewriters (though this is more evidence of gross inefficiency, probably), and “type-ins”—special evenings where people gather to tap out hand-typed letters—are becoming big amongst hipsters.
Using typewriters remind us of an era where gentlemen still remembered how to write: in full words, and not just emoticons and shortcuts. With a typewriter, there is no room for CTRL+X or CTRL+V, and less chance to regret what you wrote. Every word, every sentence and every paragraph has to be considered, typed slowly and in logical, sequential order. No room for typos. As Pulitzer Prize-winning biographer Robert A. Caro once said: “One reason I type is it simply makes me feel closer to my words. It’s like being a cabinetmaker. It’s like laying down the planks. This is the way it’s supposed to feel.” Here are some other gentlemen of letters, fond of the hand-typed manuscript.
Para ler na íntegra aqui.

24 de junho de 2012

Leituras Digitais (17 a 23 de Junho de 2012)



Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.

After stubbornly resisting conversion of their work into e-books, J. K. Rowling, Ray Bradbury, Judy Blume and, most recently, Thomas Pynchon, finally succumbed.  What persuaded them?
Cynics will say they sold out, surrendering to the siren song of riches as e-sales exceed p-sales for a growing number of authors, giving an adrenalin boost to dwindling fortunes.  Certainly the writer who does not respond positively to that song falls into Dr. Johnson’s classic characterization of “Blockhead”.
But is money their only motive?  Did these men and women of the highest integrity simply sell their souls for a pot of lucre?  Or was there some other reason they heeded the call to go digital?
The longer fanfics are serialised, with the popular ones being updated every day or so. Many chapters end on true cliff-hangers; and readers are included in the writing process. Writers include disclaimers about copyright ownership and many write author notes at the beginning and end of each chapter (many of which are very entertaining in themselves). The writers invite their readers to review each chapter and sometimes even to suggest pointers for the narrative arc. ‘Beta’ readers, who qualify for the role by being experienced fanfiction writers themselves, edit the chapters before they are posted. An incredible community is built around the stories, and Tumblr and Twitter are alive with cross blogging, reviews, and accolades for favourite writers. The popularity of individual stories or writers largely depends on discovery provided by the web through reader recommendations, both on the fanfiction sites and on social media. Once a year or so, readers vote on the best fanfiction in a number of categories, and there are curated lists of recommendations too. And disclaimers are included at the beginning of each chapter, with many being very entertaining.
And the fans read and read.
On Monday, Microsoft entered the world of tablets with Surface, announced in Los Angeles. It's Microsoft hardware designed for Microsoft software, with two models, the consumer-friendly Surface RT and the Surface Pro, meant for professionals. The prices were not announced.
Responding to the new digital nature of the book business, HarperCollins has restructured its sales organization, moving analytics into the sales department, making several promotions and letting go of about half a dozen employees.
According to a company announcement from Josh Marwell, president of sales, the sales reorganization is meant to help the New York-based publisher analyze data more efficiently, price books more intelligently and better understand market dynamics. To that end, the sales analytics department will become part of the sales department.
Here are two articles that expressly discuss pirated music, but a lot of the same issues of morality and artist compensation apply to any pirated media—movies, games, and, yes, e-books. They make an interesting presentation of two sides of the piracy argument: what can be done to get artists paid for their music?
Já há ebooks portugueses à venda nas lojas Apple, Barnes & Noble e Amazon. Mas os dois grandes grupos editoriais do país, Leya e Porto Editora, têm estratégias diferentes quanto ao digital. E que futuro face ao Brasil, o gigante que também fala a nossa língua?
The pieces reminded me that though there is some element of the miraculous in the rise of e-books and e-ink and tablet computers that put the power of god and all the information in the world literally at your fingertips, there is still untapped magic in the printed book.
In early April the Pew Internet & American Life Project released a report about about ebook usage in the United States.
Although libraries were mentioned/discussed throughout this report, the primary focus of the report was not libraries.
Today, Pew Internet is out with a NEW report that focuses solely on library patron (public library patrons to be specific) usage of ebooks and some related issues. Kudos to Pew for the broad picture since libraries are about more than ebooks.
A Almedina inicia este mês a venda de livros digitais em formato PDF e ePub e lança a aplicação Biblioteca Digital Jurídica Almedina (BDJUR), que permite a consulta gratuita da primeira série do Diário da República. A aplicação encontra-se disponível para descarregamento na Apple Store e é compatível com iPhone, iPad e iPod Touch.
New York Times E-Book Best Sellers

A version of this list appears in the July 1, 2012 issue of The New York Times Book Review. Rankings reflect sales for the week ending June 16, 2012.

E-Book Fiction

1.     FIFTY SHADES OF GREY, by E. L. James
2.     FIFTY SHADES DARKER, by E. L. James
3.     FIFTY SHADES FREED, by E. L. James
4.     GONE GIRL, by Gillian Flynn
5.     FIFTY SHADES TRILOGY, by E. L. James

E-Book Nonfiction

1.     WILD, by Cheryl Strayed
2.     THE AMATEUR, by Edward Klein
3.     UNBROKEN, by Laura Hillenbrand
4.     NOT TACO BELL MATERIAL, by Adam Carolla
5.     COWARDS, by Glenn Beck and Kevin Balfe

Wall Street Journal E-Book Best Sellers (Week Ended June 17)

Nonfiction E-Books
TITLE
AUTHOR / PUBLISHER
THIS WEEK
LAST
WEEK
Wild
1
1
Cheryl Strayed/Knopf Doubleday Publishing Group
The Amateur
2
2
Edward Klein/Regnery Publishing
The Search for Major Plagge
3
Michael Good/Fordham University Press
Unbroken
4
3
Laura Hillenbrand/Random House
Not Taco Bell Material
5
New
Adam Carolla/Crown Publishing Group
Cowards
6
New
Glenn Beck/Threshold Editions
Favorite Wife
7
Susan Ray Schmidt/Globe Pequot Press
Let's Pretend This Never Happened
8
8
Jenny Lawson/Penguin Group
Full Service
9
Scotty Bowers/Grove/Atlantic
Killing Lincoln
10
9
Bill O'Reilly, Martin Dugard/Henry Holt & Co.

Fiction E-Books
TITLE
AUTHOR / PUBLISHER
THIS WEEK
LAST
WEEK
Fifty Shades of Grey
1
1
E.L. James/Vintage
Fifty Shades Darker
2
2
E.L. James/Vintage
Fifty Shades Freed
3
3
E.L. James/Vintage
Gone Girl
4
4
Gillian Flynn/Crown Publishing Group
Mockingjay
5
5
Suzanne Collins/Scholastic
Bared to You
6
Sylvia Day/Penguin Group
Catching Fire
7
6
Suzanne Collins/Scholastic
The Hunger Games
8
8
Suzanne Collins/Scholastic
The Marriage Bargain
9
10
Jennifer Probst/Entangled Publishing
A Discovery of Witches
10
Deborah Harkness/Penguin Group

22 de junho de 2012

20.ª Feira Internacional de Edição Independente



Data: 30 de Junho e 1 de Julho de 2012.
Local: Palácio de Laguares, Lisboa.
Entrada: Livre.
A Feira Laica é o evento de edição independente que tem assumido um lugar improvável na vida cultural portuguesa. Nas suas diversas edições tem saltitando por espaços lisboetas que acolhem actividades de teor Do-It-Yourself, cabe este ano ao Palácio de Laguares receber a 20ª Feira Laica Internacional, no fim-de-semana de 30 de Junho e 1 de Julho.

Editores independentes, artistas gráficos e artesãos vendem directamente ao público um pouco de tudo: Fanzines, livros, discos (CDs e vinis), serigrafias, k7s, entre outros objectos e artefactos que desafiam as prateleiras convencionais das lojas.

Paralelamente ao espaço de comércio cultural alternativo, a feira conta ainda com exposições, workshops para crianças, concertos e novidades editoriais.

Com mais 20% de convidados estrangeiros!

Estão presentes na Feira autores de seis países: França, EUA, Espanha, Alemanha, Itália e Croácia para apresentar os seus trabalhos indo de encontro aos objectivos basilares desta iniciativa: criar um momento catalisador de novidades editoriais, potenciar o encontro de editores independentes e a reflexão sobre a actividade criativa e editorial.

Com mais 20% de bandas!

No Sábado é o regresso à Laica de Cangarra e Rudolfo, a estreia mundial dos Minuto 22, e a estreia (na Laica) dos 100 Leio, Kimo Ameba, Putas Bêbadas e dUASsEMIcOLCHEIASiNVERTIDAS. No Domingo a Laica fica um bocado mais calma com os Go Suck a Fuck, Canzana e Smiley Face.

Editores confirmados: Associação Chili Com Carne, Associação Terapêutica do Ruído, BábaMúPeace, jornal Buraco + Oficina Arara, Cafreta Records, Canicola (Itália), Caprichosa (fanzines da FBAUL), Cru/ Mr. Esgar, Dildo Doodles, Discordian Ink, Ediciones Valientes (Espanha), El Pep, Façam Fanzines e Cuspam Martelos, autor Filipe Abranches, Hepta, Imprensa Canalha, Kennedy Prints! (EUA), Lézard Actif + Ar-Déco (França), Mia Soave, Mike Goes West, MMNNNRRRG, fanzine Nicotina, Oficina do Cego, Organic Anagram, Panda Gordo, Papeleiro Doido, Pedra + Rocha, Pisco Ruivo, Ruru Comix, Serigrafias Tobias, Steppin Stone, Thisco,… e ainda Toyze

21 de junho de 2012

Hélia Correia no Café com Letras



Café com Letras
Convidados: Hélia Correia.
Coordenação: Carlos Vaz Marques.
Data: 27 de Junho de 2012, pelas 21h30.
Local: Biblioteca Municipal de Carnaxide.
Entrada: Livre.
Hélia Correia nasceu em Lisboa em 1949. Licenciou-se em Filologia Românica tendo-se também pós-graduado em Teatro Clássico.
Tendo abraçado profissionalmente a docência, foi professora de português do ensino secundário, cedo manifestou o seu interesse pela escrita.
Em 1981 edita a sua obra de estreia, ‘O Separar das Águas’, um livro de poesia, mas é como ficcionista que atinge maior notoriedade. A sua escrita em prosa estende-se pelo conto, novela, romance, passando também pelo ensaio e dramaturgia embora a musicalidade da linguagem, a sua melódica forma, característica do discurso poético esteja presente em toda a sua obra.
A novela ‘Montedemo’, editada em 1983, foi encenada pelo grupo O Bando, assim como também A Comuna levou à cena em 1993 a peça ‘Perdição, Exercício sobre Antígona’ escrita pela autora em 1991. A sua forte ligação ao teatro levou-a inclusive a subir aos palcos para representar em ‘Édipo Rei’.
É notório também o gosto de Hélia Correia pela recriação, na sua escrita, de ambientes e cenários críticos e determinantes na formação do Homem de hoje e de sempre, subvertendo muitas vezes os limites entre o real e o extraordinário na sua exposição da condição humana, abrindo as portas que há no tempo, como refere a própria autora.
Recebeu o prémio PEN 2001, atribuído a obras de ficção, pela sua obra ‘Lillias Fraser’ editada nesse mesmo ano.
Dia 27 de Junho, às 21h30, vai estar à conversa, na Biblioteca Municipal de Carnaxide, com Carlos Vaz Marques e com todos aqueles que com eles quiserem partilhar um serão à volta dos livros.

19 de junho de 2012

Blimunda n.º 1



O novo número da revista literária da Fundação José Saramago, agora com o nome “Blimunda”, já pode ser descarregado gratuitamente aqui.
Após um primeiro arranque, a revista literária digital da Fundação José Saramago ressurge agora com o nome de Blimunda. Esta mudança, motivada por razões administrativas relacionadas com o registo do nome da publicação, levou a que o nome da mulher protagonista de Memorial do Convento, aquela que coleccionava vontades e que via o interior das pessoas, desse agora o nome e personalidade a este espaço electrónico que mantém os objectivos da Fundação José Saramago. Centrada em questões literárias, a Blimunda não perderá de vista os restantes princípios que orientam a Fundação, como a defesa do meio ambiente, a valorização da cultura portuguesa, literária e não só, e aqueles que estão plasmados na Carta Universal dos Direitos Humanos e na Carta de Deveres Humanos sobre a qual a Fundação está a trabalhar.
A publicação deste primeiro número da Blimunda coincide com a abertura ao público da nova sede da Fundação, na emblemática Casa dos Bicos. Este espaço, totalmente recuperado, permitirá a criação de um novo centro cultural na Cidade de Lisboa, à disposição de todos os que nos queiram visitar e, talvez, partilhar objectivos. A Fundação abre as suas portas com uma grande exposição sobre a vida e a obra de José Saramago, organizada por Fernando Gómez Aguilera e intitulada José Saramago. A Semente e os Frutos. Nela podem ser vistos diversos originais do escritor, um conjunto de vídeos e várias centenas dos livros que escreveu e que foram publicados em todo o mundo, quer dizer, os saborosos frutos que nasceram das sementes do trabalho realizado ao longo de uma longa vida plena que culminou a 18 de junho de 2010, faz agora dois anos, e que com este número de Blimunda humildemente se pretende homenagear.

18 de junho de 2012

Vencer a inércia II: Camp Nanowrimo e Ray Bradbury


No ano passado chamei a atenção para o Nanowrimo como uma iniciativa que pode auxiliar potenciais autores a vencer a inércia. Desta feita venho divulgar o Camp Nanowrimo, em tudo semelhante ao projecto original (escrever pelo menos 50.000 palavras ao longo de um mês), com a excepção de se realizar em Junho e em Agosto. A inscrição pode ser efectuada aqui.
Based on November’s National Novel Writing Month (NaNoWriMo), Camp NaNoWriMo provides the online support, tracking tools, and hard deadline to help you write the rough draft of your novel in a month… other than November!
Camp NaNoWriMo was established in 2011 as a project of the Office of Letters and Light, the parent 501(c)(3) nonprofit to National Novel Writing Month, and Script Frenzy, and the Young Writers Program. 2012 Camp sessions will take place in June and August.

What: Writing one 50,000-word novel from scratch in a month’s time.
Who: You! We can’t do this unless we have some other people trying it as well. Let’s write laughably awful yet lengthy prose together.
Why: The reasons are endless! To actively participate in one of our era’s most enchanting art forms! To write without having to obsess over quality. To be able to make obscure references to passages from our novels at parties. To be able to mock real novelists who dawdle on and on, taking far longer than 30 days to produce their work.
When: You can sign up anytime to add your name to the roster. Writing begins 12:00:01 AM on June 1, and again on August 1. To be added to the official list of winners, you must reach the 50,000-word mark by 11:59:59 PM on the last day of the month. Once your novel has been verified by our web-based team of robotic word counters, the partying begins.
Aproveito também para partilhar este vídeo, em que Ray Bradbury, que nos deixou recentemente,  fala sobre a sua carreira literária e partilha alguns conselhos relativos à arte da escrita:


17 de junho de 2012

Leituras Digitais (10 a 16 de Junho)



Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.

When e-textbooks were first introduced, they were supposed to be the wave of the future, and experts thought we’d see e-reader-toting students littering college campuses, and of course being adopted in droves by online university students. But they haven’t taken off quite as expected: according to market research firm Student Monitor, only about 11% of college students have bought e-textbooks. So what happened? Here, we’ll explore several reasons why students aren’t yet warming up to the idea of e-textbooks today.
As the CEO of Smashwords, a 14-person company in Los Gatos, Calif., Coker gives authors free self-publishing software that converts Word documents into ­
e-book files—and lets them set the price. Through ­distribution partnerships those e-books line the shelves of digital bookstores run by Apple, Barnes & Noble, Sony and Kobo. No deal yet with Amazon.
When it comes to books you could say that we’re living in a paradox of choice. Yes, books are cheaper and more readily available than ever,; but libraries are being closed and serious thinking is being crowded out by excessive materialism. I wouldn’t be where I am today without the protected calm space of a well-tended local library. Libraries are the universities of the masses and we lose them at our peril.
New data from Pricewaterhouse Coopers’ Global Entertainment and Media Outlook projects that e-books will make up 50 percent of the U.S. trade book market by 2016. What will happen in the rest of the world during that time? PwC gave paidContent an exclusive look at their e-book data, and here are some of their predictions.
Recently, a study suggested that enhanced ebooks, which allow kids to interact with stories by swiping or tapping text, may be detrimental to developing literacy and memory. The children in the study sample apparently found it harder to recall plot details from enhanced ebooks, focusing more on the demands of the device they were using than the story they read. Drawing an ancient, creaky, anecdotal parallel with my own experience, this makes some sense to me. I recall almost no plot detail from the Famous Five game books I once played, only the physical sensations of handling dice, compass-wheels, picnic boxes, maps. What they developed was muscle memory, rather than mental.
Net sales revenue from eBooks have surpassed hardcover books in the first quarter of 2012.
According to the March Association of American Publishers (AAP) net sales revenue report (collecting data from 1,189 publishers), adult eBook sales were $282.3 million while adult hardcover sales counted $229.6 million during the first quarter of 2012. During the same period last year, hardcover accounted for $335 million in sales while eBooks logged $220.4 million.
But to a large extent, it really is the best of times for publishing. We have a lot of potential to connect more people with more ideas more efficiently and quickly than ever before. We have more people reading and writing than ever before, though (like publishing) literacy skies are also in a permanent downward trajectory according to generations of chickens little.
There are challenges, particularly as patterns of distribution are disrupted and new ones emerge. New possibilities carry costs and many are inevitably going to be failures. Integrating new options into the way people discover, use, and contribute to the record of scholarship can be exhausting, and someone who hears about a new novel may have trouble getting it because it’s not available through their library, their favorite bookstore can’t carry it, it’s in the wrong ebook format, or it’s only available to people living in a different geographic region, which seems insane since their Facebook friends who are raving about it have no trouble expressing themselves from a different continent. There are more choices, but they come with new and perplexing limits, and the whole thing is changing so fast it’s wearing.
I’m worried about the manipulation of us all through technology and I worry that we’re handing over power to companies that don’t necessarily have writers and readers at their heart. It’s about code and format, not about why we might read War and Peace or Mort d’Arthur. Yes, there are many changes in technology, but I don’t believe the human heart changes. The idea that we all have to engage in the same way now is erroneous.
First, Alan now has current info on the costs of the EBM and how it’s generating money. It turns out his older info was heavily pessimistic; the device is more profitable than he calculated. According to OnDemand Books, most bookstores with an EBM use it to create between 7 thousand and 14 thousand books a year. Based on current cost estimates, that’s enough income to pay off the investment in one to two years. This makes it a far better investment than before.
But there’s a catch. It turns out that the booksellers aren’t using the EBMs to print books from the OnDemand Books catalog (HarperCollins, Lightning Source, Google Books); no, most are operating the device as a mini print shop. It looks like 90% or so the books printed the first year come from walk-ins – local folks who bring their own file and want a few copies of their own book.
In Worldreader's first test, funded by the U.S. Agency for International Development at six schools in Ghana starting in 2010, the group found that primary-school students who got Kindles increased their performance on standardized reading tests from about 13% to 16%.
For kids who develop a love for reading, there is another benefit that is hard to quantify: a seemingly endless library. "I can access every book I want to read very quickly," says Eperence Uwera, a 13-year-old Rwandan refugee at the Humble School. "I would love to go [home] with the Kindle during the holidays."
New York Times E-Book Best Sellers

A version of this list appears in the June 24, 2012 issue of The New York Times Book Review. Rankings reflect sales for the week ending June 9, 2012.

E-Book Fiction

1.     FIFTY SHADES OF GREY, by E. L. James
2.     FIFTY SHADES DARKER, by E. L. James
3.     FIFTY SHADES FREED, by E. L. James
4.     GONE GIRL, by Gillian Flynn
5.     FIFTY SHADES TRILOGY, by E. L. James

E-Book Nonfiction

1.     WILD, by Cheryl Strayed
2.     THE AMATEUR, by Edward Klein
3.     UNBROKEN, by Laura Hillenbrand
4.     I HATE EVERYONE . . . STARTING WITH ME, by Joan Rivers
5.     THE GREAT DESTROYER, by David Limbaugh

Wall Street Journal E-Book Best Sellers (Week Ended June 10)

Nonfiction E-Books
TITLE
AUTHOR / PUBLISHER
THIS WEEK
LAST
WEEK
Wild
1
6
Cheryl Strayed/Knopf Doubleday Publishing Group
The Amateur
2
1
Edward Klein/Regnery Publishing
Unbroken
3
3
Laura Hillenbrand/Random House
Eat to Live
4
Joel Fuhrman/Little, Brown
I Hate Everyone...Starting With Me
5
New
Joan Rivers/Penguin Group
The Great Destroyer
6
New
David Limbaugh/Regnery Publishing
Make Him Beg to Be Your Boyfriend in 6 Simple Steps
7
New
Michael Fiore/Digital Romance Inc.
Let's Pretend This Never Happened
8
Jenny Lawson/Penguin Group
Killing Lincoln
9
9
Bill O'Reilly, Martin Dugard/Henry Holt & Co.
Heaven Is For Real
10
8
Todd Burpo with Lynn Vincent/Thomas Nelson Publishers

Fiction E-Books
TITLE
AUTHOR / PUBLISHER
THIS WEEK
LAST
WEEK
Fifty Shades of Grey
1
1
E.L. James/Vintage
Fifty Shades Darker
2
2
E.L. James/Vintage
Fifty Shades Freed
3
3
E.L. James/Vintage
Gone Girl
4
New
Gillian Flynn/Crown Publishing Group
Mockingjay
5
4
Suzanne Collins/Scholastic
Catching Fire
6
5
Suzanne Collins/Scholastic
Kiss the Dead
7
New
Laurell K. Hamilton/Penguin Group
The Hunger Games
8
8
Suzanne Collins/Scholastic
On the Island
9
6
Tracey Garvis Graves/Tracey Garvis Graves
The Marriage Bargain
10
10
Jennifer Probst/Entangled Publishing
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