The New York Times looks at Ludlum and other dead authors who continue to (sorta) release books. This isn’t new; in recent years we’ve seen post-Frank Herbert Dune and other Asimov/Robots books. John Gardner and others have been writing James Bond books for a while now. But as media continues to talk about “brands” and (ugh) “franchises” then I guess this is what we’re in for. It’s easier to sell (and buy) something that is already known that break through with something new. Movies into games. Games into movies. Sequels. Prequels. Remakes. The book people may just be getting started.

Whether it is fair to readers to publish the Ludlum books posthumously – in the form of spruced-up old manuscripts or new novels written by others – is not a serious concern to the estate or to Grand Central Publishing, the former Warner Books, where the rights to all new novels moved from St. Martin’s Press.

“I don’t think anyone objects as long as you maintain the quality of the book,” Mr. Morrison said. “The Sherlock Holmes novels have been a business since ‘The Seven-Percent Solution,’ and some have been better than others. It’s the characters that interest people.”

Here’s what is supposedly Fox’s upcoming response to The Daily Show. Even filtering for the point of view, it just feels so incredibly forced, both the humor and the audience laughter. Is the lack of authenticity the problem here?

I’m a believer in the power of authenticity (as well as the greater power of inauthenticity). Fake blogs (aka flogs) were a bit of a scandal recently. Predictions for 2007 are focusing on this as well.

Companies not acting in an authentic and honest way will be subject to the wrath of the newfound consumer voice.

The buzzword for 2007 will be authenticity and it will become a driving force for businesses.

But what is authentic? What is inauthentic? The eye of the beholder makes the final determination.

Here’s a story: we were doing in-home interviews last month, getting reactions to product packages in order to understand the important visual elements and cues (in order to inform an upcoming redesign). One package had a label with a jagged edge, meant to suggest torn paper. It didn’t look like real torn paper, it looked like a manufactured torn edge. Some people really liked it, but one person called it as unacceptably fake. He pointed to another packaging label that he had purchased, as this one had a more realistic-looking torn edge, where the paper was frayed and small threads and fibers were visible.

He was very clear that both of these edge treatments were done by machine; that no paper was torn by hand. The vernacular of the jagged paper was completely unacceptable. The more realistic (as he imagined it) frayed edge was the right way to do it.

It’s a bit of a post-modern take on authenticity, where it’s more of aesthetic that supports suspension-of-disbelief, rather than some extremely absolutely True and Real version. What does the way it looks let me comfortably accept into my reality?

How do you know what is authentic? How do you know that what you are creating or selling is authentic?

A slideshow of photos from the day, running on a TV monitor at the end of the day

Check out a PDF of my talking points from my session at MarCamp/

It was a fun day, met some new people, met some others I’d heard of but never actually met, saw some familiar friendly faces as well. Some good discussions, some not as good. I was frankly really pleased with the session I ran; I talked for a bit and then turned it over to the group to discuss and we had great people who were smart, experienced, opinionated and articulate. I couldn’t have been more pleased. Indeed, some of the themes were echoed throughout the other sessions I was in.

According to this article, in Japan they are pretty into KFC as their version of an authentic American Xmas. (Also, here).

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FreshMeat #1 from Steve Portigal

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               (oo) Fresh                  
                \\/  Meat

Pass it on!

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What is the connection between quality and authenticity?
And is it really a small world after all?
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Do you ever watch other people when you go on vacation?
Perhaps it’s an occupational hazard, but I find myself
constantly curious about the people I see. Did they
choose this place for the same reasons I did? If not,
what brought them here?

This seems to be a fun exercise although it’s rare to
get any answers. It does provoke self-analysis, which if
you’re me, is a good thing to do on vacation.
I found myself in Waikiki a little while ago. It’s
totally a tourist area – a few blocks with hundreds of
hotels, surf lessons, beaches, palm trees, cafes, and
restaurants. Other parts of Hawaii are considered by
some as the “real” place to go – in fact I have to fight
the need to apologize for choosing Waikiki as my
destination.

While there, I thought a lot about previous trips to Las
Vegas, which is another area that exists solely for
tourists to come and consume manufactured tourist
experiences.

Vegas is typified by the Venice casino, a recreation of
its namesake (indoors), with clouds painted on the
ceiling and gondoliers who use professional audio
equipment for their singing. To me, it’s crap. Most of
the Strip is (increasingly) this sort of crap.

In Waikiki, two guys in an SUV pull up to the beach at
6:30, then leap out clad in a brand-new bright red and
gold nylon traditional toga-like outfit (obviously, it
looks nothing like a toga, but the point is, there are
no pants to it). One takes a conch shell and stoically
blows into it three times, turning 90 degrees each time.
The other scampers around carrying a burning stick and
lights all the built-in torches along the beach.

Now, this struck me as cool. Obviously, this was
completely manufactured for tourists who want to think
they’ve had some kind of authentic Hawaiian experience.
It was goofy, but I pointed out to myself that at least
it was derived from something real. To me, this form of
revisionism seemed less dangerous, less offensive, and
less crappy than mini-versions of Paris, New York, or
Venice.

Is it simply the fact that Vegas passes itself off as
opulent indulgence (successfully, it seems) that presses
so hard on the inauthentic button for me? Or is the
context of Hawaii so powerfully wonderful that no amount
of Disneyfication can eliminate it? And why is it that
the guys dressed up like Klingons at the Star Trek
Experience were the most genuine thing in all of Las
Vegas?

Clearly further study on these locations is required. My
current hypothesis is that it is the vacationer’s intent
(gamble, relax, indulge, party, nature-immersion, etc.)
that tints the sunglasses the appropriate shade of rose.

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Postscript: If you’re interested in Hawaii from a
cultural and historical point of view, check out The
American Raj by John Gregory Dunne, in the May 7, 01 New
Yorker. He looks at the multiple ethnic groups and
cultures (the Navy being one of them) that make up
Hawaii, and does a nice comparison of Pearl Harbor (the
event), Pearl Harbor (the movie), and the sinking of the
Japanese fishing boat by the Greenville.

Postscript 2: A recent NYT travel feature “Honolulu
Proves Clichés Can Charm” provides more description of
Waikiki.

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