Mark Tapson at Acculturated asks if great art can emerge through cell phones and social networking.
October 29, 2012 - 9:00 am
Prescient philosopher of the media Marshall McLuhan once famously remarked that “the future of the book is the blurb.” Had he lived long enough to witness the ubiquity of the personal computer and social media, he might have said that “the future of the book is the tweet.”
As both a longtime James Bond fan and a contributor to Acculturated’s symposium on “Language in the Digital Age,” I was amused to read about how author and comedian Charlie Higson recently reduced twelve of Ian Fleming’s Bond novels into 140-character tweets, just in time for the release of the new 007 movie Skyfall.
Here is Higson’s take on Dr. No, for example, the first Bond book to be made into a film, the one in which original Bond girl Ursula “Honey Rider” Andress made her iconic appearance in a white bikini: “Jamaica? Yes. Dead agent? Yes. Honeychile Rider like a naked Venus from the sea? Yes. Steel hands? Yes. Radioactive pool? No. Death by guano”
This is not the first time compressing novels into a single tweet has been undertaken on Twitter. Writers like Tim Collins have boiled down the classics at least as far back as 2009. Here is his summary of The Catcher in the Rye: “jdsalinger: Rich kid thinks everyone is fake except for his little sister. Has breakdown. @markchapman is now following @johnlennon”
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