Reflections of a “Book Pirate”

Or, The Unintentional Consequences of Impersonal Social Media Systems

tl;dr – I was accused of being a book pirate for returning a book. (Picture of email below.)

Throughout the past semester — the first in my five-year PhD program — I’ve been trying to build out my personal Internet-and-digital-media-centric book library (inspired in part by the dozens of books my mentor, danah boyd has in her massive collection at Microsoft Research). Like most academics, I prefer physical copies of what I read, for the purpose of taking notes. The process of searching-and-buying has boiled down to me coming across interesting, new titles or texts I know I need to own but don’t and then going to Amazon.com to purchase a used copy (or new, if it’s below fifteen dollars).

I’m trying to be as frugal as possible, since I’ll probably end up buying dozens and dozens of books over the next couple of years; at the same time, I prefer clean physical copies, so if the new book is too expensive, I’ll scour the Used section for “Very Good” markers, making sure to note if the text has any folds or notes or highlights.

About a month ago, I remembered that I did not own a copy of Paul du Gay’s seminal media text, Doing cultural studies: the story of the Sony Walkman. While searching around, I also happened upon another book by du Gay, entitled Production of culture/cultures of production. This jumped out at me, because I’m doing a project on “open-source culture” and the production of digital creative works (see 1 and 2), and I figured this text might be relevant.

Without any further research, I (ignorantly) purchased the book: a “Used – Like New” copy for $6.79 with $3.99 shipping from tomweberfilms (5-star, 100% rating).

Eventually Poc/cop arrived; I flipped through the pristine copy. But I realized: it’s an undergraduate textbook. Fail.

Not that these types of books are necessarily bad: they’re actually really helpful for the citations at the end of each chapter. But a textbook with the sole purpose of occupying a place on an undergraduate syllabus isn’t the kind of material I’m willing to keep on my bookshelf.

So I waited a few weeks to return the book, since I had a handful of other items to return as well (in addition to the honest fact that I was busy at the end of the semester, plus being a bit lazy going about it, since the Amazon return policy is 30 days). Usually returning items on Amazon is fairly simple: you fill out a very short form stating the reason for returning the item and then print out a shipping label. Done. For example, if you return a piece of clothing that you buy via Amazon (or an Amazon affiliate), the options are:

  • Too small
  • Too large
  • Style not as expected
  • Ordered wrong style/size/color
  • Different from website description
  • Damaged during shipping
  • Different from what was ordered
  • Defective/Does not work properly
  • Arrived in addition to what was ordered
  • Better price available
  • Missed estimate delivery date
  • Accidental order
  • No longer needed/wanted

However, when you return an item to vendors that use Amazon to list and sell their items (but are not necessarily Amazon affiliates), you have to send them a message noting the reason for the return (literally “Submit for approval”) before they can endorse the transaction. When you select the reasons for a book, you get:

  • Accidental order
  • Better price available
  • Damanged due to inappropriate packaging
  • Missed estimated delivery date
  • Missing parts of accessories
  • Damaged during shipping
  • Different from what was ordered
  • Defective/Does not work properly
  • Arrived in addition to what was ordered
  • No longer needed/wanted
  • Unauthorized purchase
  • Different from website description

But none of these selections really fit the nuance of my situation: I simply realized after the purchase that I shouldn’t have ordered the book. Ultimately, I went with “No longer needed/wanted” and sent off the request for approval.

A day or two later, I received the following response:


Screenshot taken at 4:31pm PST, 18 December 2011

I got a refund… but if you didn’t catch it, let me cut out the important part:

Notes: You purchased this book three weeks ago and now you decide that you do not want/need the item. I believe you are taking advantage of the system. You had ample time to photocopy or scan the book at my expense. You may dispose of the book as you see fit.

… what? Was I just accused of being a book pirate? I was hilariously surprised, in response to this unexpected development (additionally unexpected because I still got the refund, including shipping), but also from a critical standpoint, with regard to the assumptions embedded in the response.

“I believe you are taking advantage of the system… at my expense.

Assumption: Users who purchase physical media on Amazon and return them (especially those who choose the “No longer needed/wanted” option) are clearly copying the object(s).
Assumption: The selection items in the return request accurately depict a motivation or intention of the consumer.
Assumption: The selection items over-empower the consumers and exploit the vendors.
Assumption: It takes three weeks to scan a 356-page book.

Perhaps the second point is the more interesting one to muse on: as a consumer, I don’t really think much about the option I choose as a reason for the return. But apparently, for the vendor, the reason provides a level of measurement regarding motivations and other unseen processes that elude Amazon’s merchant analytics dashboard.

The issue was resolved with a quick response email:

Me: Sorry about the lag in the return time. I understand the situation you described that the delay might imply. (Do you actually have a lot of experience with book piracy through Amazon? I wouldn’t have necessarily expected that, but I guess it makes sense…) I’d still like to return the book, if that’s an option.

Vendor: You sound like a good person and I’m sure you just didn’t get around to it. Sorry for the accusing tone of my e-mail, but I’m sure it happens that people buy books, scan them or make notes from them, and then return them. If you want to ship the book back to me, that would be appreciated. Whatever the lowest cost option is.

The piracy invocation still provoked a number of questions with regard to how unintended consequences can emerge from interactions in social media:

  • Does the vendor have a personal bias against media piracy?
  • Does the vendor have experience with book piracy through Amazon? If not, what is the motivation behind the accusation?
  • Has the vendor made these accusations to other customers in the past?
  • How does is the accusation situated in relation to the 5-star, 100% Amazon rating and (lack of negative) comments?
  • What does the vendor mean by “You may dispose of the book as you see fit?”

The situation, at least, provides a unique thought experiment about the role of social media — particularly socially-mediated systems, like Amazon, or more vaguely like ratings systems and response forms.

It seems like the current context of rapid and easy content circulation and the impersonal business-to-consumer relationships masquerading as social media consumer “engagement” has led to a conflux of hyperaware metrics (consumer tracking) with the uncertainty of social ingenuity (what some might call lifehacking). This is a situation that perhaps The Cluetrain Manifesto could not have predicted.

And it’s not like consumers are the only ones with the agency and power to exploit these systems. You’ve probably heard about Amazons’ $23,698,655.93 book about flies. More recently, on an episode of the GeekNights podcast, the hosts suggested that some vendors on Amazon are listing items that they don’t actually own (under the premise that they’ll buy the item for cheaper elsewhere in time to resell when the item is purchased).

Plainly, this incident is awkward, but at least it gave me a chance to sit down and think more about the role that social systems play in the coordination of communication, particularly in impersonal situations. I wonder if there have been other instances of assumptions embedded in or emergent from the use of neutral (more like “vague”) tagging systems to mediate transactions with the purpose of categorization, management, and metrics but from which materialize other unintended consequences. A cool study to do might be investigating the responses that vendors have to the types of form responses they receive — for example, do most vendors tend to have negative opinions of return requests they receive marked “no longer need/want”? How would reactions vary between the various possible drop-down responses.

It’s also interesting to weigh reactions like this against the cultural value of the ratings system. For instance, when I’m looking for a used book on Amazon, I’m mainly paying attention to the quality of the book. A difference of 100% and 90% in the stars-ratings of the store itself doesn’t necessarily faze me. Though I assume for the vendor, one negative review completely offsets their reputation within the marketplace (and I know that many eBay vendors have been particularly meticulous, even petulant, about grooming their ratings).

Oh, and of course an answer: no, I didn’t copy the book. (Though I have to admit, it’d be a pretty ingenious scheme, even if I’d probably use the library instead of Amazon.)

Edited 19 December 2011 for clarity.


Alex Leavitt is a PhD student in the Annenberg School for Communication & Journalism at the University of Southern California, where he studies the internet. While he has actually never copied an entire book (and though he frequently scans chapters from dozens), he does ideologically support projects like http://www.diybookscanner.org/ that help disseminate values of free culture. For more frequent updates, you can find him on Twitter at @alexleavitt.

Finally (Academically) Published! [Yep, Nerdily For an Anime Website Review]

See my article here, or read up on my boring story of how I got published below.

Also, yes, I know that the journal’s Style Guide is messed up. “Web site,” with a space, really guys?

Last spring, I sat down one night, shaken by an urge to write furiously. On a random whim, I wrote up a full paper for an academic journal.

Apparently this is what I do for fun in my free time.

The compensation: I’m finally published!

OK, so to put it all simply, I wrote a book review for the Transformative Works and Cultures journal. The TW&C journal is a peer-reviewed, open, online journal. If you hit the link, you can check out the amazing executive board. But in terms of my own publication, a book review is pretty low in the Important Publications hierarchy, but it’s a start, and definitely a good one for graduate students (though of course I haven’t even been accepted to a program yet…).

The interesting part of my book review is that it’s not actually a book review: it’s a website review! On the Online Submissions page, where it explains how and what to submit in the journal’s different sections, the review section states, “Reviews offer critical summaries of items of interest in the fields of fan and media studies, including books, new journals, and web sites.” That last item, websites, stuck out at me, so I flipped through the older four issues of the journal. I found only book reviews.

Idea: do something really new. So I wrote a website review!

The review takes a look at Inside Scanlation, a well-researched fan site that catalogues the short history of English-language manga scanlation. I discovered this website a couple weeks before it launched and eagerly waited for its official publication. I really like Inside Scanlation because it’s a modern equivalent of older anime fansites that probably are only available today via The Wayback Machine.

If you’re interested in reading through my review, you can find it at the Transformative Works and Cultures Journal, volume 5. A direct link to the article is here.

Also, if you’re interested in more anime fandom-related academic articles, Mikhail Koulikov wrote up a paper on fansubbing communities. You can read that essay in the same volume: Fighting the fan sub war: Conflicts between media rights holders and unauthorized creator/distributor networks.

Conceptualizing the Academic Anime Review

There’s been a lot written about how to write reviews. Of course I mean for anime and manga. Most of these essays focus on writing for your audience, or creating spoiler-free zones, or formulating objective positions, or avoiding plot summary blather. However, I feel like there’s one underutilized method of critical inquiry that can be adapted and adopted for reviews of any media, and of course that is the academic methodology.

But what do I mean by an “academic review”? Well, put most simply, the fundamental form of academic writing is the literature review, and the social tenet that holds academic published research together is the citation. If you don’t understand this latter point, hit up Google Scholar, throw in a search term, and you’ll see that the “most important academic works” are those with high “cited by” counts.

Anyway, so how can we provide an academic bent to review writing? Well, there are technically already “academic reviews” available: simply pick up a copy of Mechademia and flip to the back pages, where you’ll find a host of critically insightful reviews of anime and manga titles. These reviews provide references to and citations of other academic texts, but tend to avoid other reviews from professional reviewers, other academics, or whomever.

The idea I would like to put forth in this short article, though, is that there’s another type of “academic review” that is not really used: reviews that reference previously-written reviews, as if the networks of reviewers mirrored the networks of academics that make up contemporary academic research matrices.

Looking through some criticism about writing reviews for anime and manga, once in a while I see authors writing, “So-and-so has already said enough about this title, so I don’t really have much more to say.” But I want to criticize these stances, because a reviewing author should take into account what others view about a piece of media, at the very least to inform his or her own opinion in the review-to-be-written.

I’ve been meaning to add more reviews of anime and manga titles to this blog, but I’ve continually taken the approach of writing critical, exploratory essays about the titles rather than mere reviews. So starting soon, I’m going to attempt to publish a few academic reviews on this blog that reference reviews currently written in the blogosphere.

Of course, I perceive an interesting gap in the current anime/manga blogging phenomenon, which is that there’s not much written about what both the Japanese- and English-language spheres are saying about a particular work. In the hopes that this will help (read: force) me to translate more Japanese writing about anime and manga, particularly from notable — though probably random — Japanese bloggers, I’m going to start writing reviews that reference the current discourse on Japanese popular media. Because that’s what academic is all about: creating, interacting with, and maintaining critical discourse about topics.

I hope that this will help foster greater communication between, or at least appreciation and understanding of, the Japanese and English fandoms.

I’d love to hear what others have to say about this referential approach: please leave comments! And hopefully I’ll have a review up in the next week or so. I’ll be starting with Asano Inio‘s relatively-unknown manga, Goodnight Punpun (Oyasumi Punpun).