There should be a term in the language to describe a person just enough older and grumpier than oneself that, by comparing his or her responses to things and the passing scene, one can judge oneself not so old and square and out of it as all that, and with an admirable tolerance for and understanding of the Modern World.
This occasioned by a John Updike rant (gentle, but a rant) about Google's plans to digitize every book ever written and permit everyone to have acces to everything, cut it up, build their own personal versions of whatever and then disperse them to the world. There is some kind of category error that (old) people make when faced with the World Wide anything: they don't see that making things available to all the world will not actually mean that everyone in the world will avail themselves of it. It appears to them that the value and uniquenss and quiddity of literary works will be somehow infinitely diluted by the Whole World having infinite and instant access to it. But they won't want any of it except the things they want, and now can find and have, and those who want to cut up books and paste their contents into fanbooks and hommages and imitations and then distribute won't be doing it with books that will remain inaccessible to them for other reasons: Ulysses and the Odyssey and and and and will be just as invisible to them, or just as randomly likely to appear before them and captivate them, as they ever were, i.e. not very likely.
From ancient times to the end of the 19th c. when books became vastly available and accessible, those who could get them and read them used to cut and paste them in copybooks and beautiful quotation books and collections of homilies (and recipes), which collections then circulated, some of them becoming more available than their originals, in fact becoming in some cases all we know of those originals.
So JU should probably rest easy. Though I love bookstores as much as he does. The contents thereof a different matter: some yes, some no.
This occasioned by a John Updike rant (gentle, but a rant) about Google's plans to digitize every book ever written and permit everyone to have acces to everything, cut it up, build their own personal versions of whatever and then disperse them to the world. There is some kind of category error that (old) people make when faced with the World Wide anything: they don't see that making things available to all the world will not actually mean that everyone in the world will avail themselves of it. It appears to them that the value and uniquenss and quiddity of literary works will be somehow infinitely diluted by the Whole World having infinite and instant access to it. But they won't want any of it except the things they want, and now can find and have, and those who want to cut up books and paste their contents into fanbooks and hommages and imitations and then distribute won't be doing it with books that will remain inaccessible to them for other reasons: Ulysses and the Odyssey and and and and will be just as invisible to them, or just as randomly likely to appear before them and captivate them, as they ever were, i.e. not very likely.
From ancient times to the end of the 19th c. when books became vastly available and accessible, those who could get them and read them used to cut and paste them in copybooks and beautiful quotation books and collections of homilies (and recipes), which collections then circulated, some of them becoming more available than their originals, in fact becoming in some cases all we know of those originals.
So JU should probably rest easy. Though I love bookstores as much as he does. The contents thereof a different matter: some yes, some no.

Comments
To use it in a sentence you could say; "Man, those RIAA clowns are such updikes." or "Then she updiked about the new computer system for nearly an hour."
The popular-music world has been dealing with these issues too, of course. It's a quandary, because I love music but hate the companies that sell it. The position I've worked out is that, paradoxically, the only artists that lose out financially from unauthorized copying are the superstars who are best able to afford it. Less well-known artists actually benefit greatly from the exposure and distribution, gaining fans who then spend money on higher-quality CDs, concert tickets, etc. In other words, piracy acts as a progressive tax that evens out the playing field. If the same technology that drains money from Garth Brooks and Madonna allows independent musicians with new ideas to stay afloat and gain fans, I'm all for it.
I think the same arguments can be applied to books. Authors have the additional benefit that reading on a computer isn't nearly as compelling as listening to music via one, so people who have sampled a literary work have more impetus to go buy a legit copy.
Yes, this is true. Publishers were quite cranky about the project until they understood this. Now, they're not necessarily happy, but they're not all threatening to sue. Mind you, I haven't paid attention to the issue in the last couple of months.
re: terminology
I agree that we need such a term. Studs Terkel is older than almost everybody but not terribly grumpy. Many people are perhaps grumpy enough but too young for the task (even PJ O'Rourke). If Updike is always like that, he'd be a good choice, but I suspect that he may not be. People don't think of Grumpy the dwarf unless mentioned along with one of the others (Sneezy, et al.). Any other suitable mythic figures?
http://www.nytimes.com/2006/06/25/b
What no one understands at this point is what literacy will consist of in the near and more distant future. Not a way to make a living, no, but will people be reading anything archived in these vast intangible cyberdumps. Will the authority of the original continue to command $138 million for the portrait of a gorgeous dead Viennese bimbo? It was surely worth a passing glance, but will you bother to take a trip to NYC, and the Neue Gallerie, for having been in the sacred presence of a picture you can grok right here on this screen?
We pay big bucks for the equipment we see our movies on, but will future kids bother to train their minds to enjoy Jane Eyre or Middlemarch? Aren't they going to prefer the direct engagement of Design Your Own Monster and Kill It Tonite! What seems to fuss Updike is the notion that his work will not outlive bronze monuments. For my part, so much smaller a part, I'm resigned to my own and the planet's death. I just want to keep watching it so long as CNN is broadcasting the event.